I've been listening to a lot of J. S. Bach lately, as well as bits of Thomas Tallis, Josquin, and similar pre-Classical Era composers. Often as I listen to these pieces of music, I find myself thinking: this music expresses nothing.
The power of a piece like this may well be that it can't be broken down into any kind of meaning other than the meaning that it seems to have as we hear it unfold. Perhaps that helps to explain why, even as it has no message, it still seems to express information that seems both deep and somehow true as well.
In any case, I have become addicted to the experience of listening to these pieces and searching for the meaning in them. I never find anything I can really point to, but that's meaningful in and of itself, just like the experience, say, of looking at a tree might be. What do I make of a tree? What does it express? Everything and nothing, I suppose.
I've made a station for you. It's called "Inexpressible Radio." Take a listen and ask yourself: what is this music saying? If it says nothing, then why does it also seem to make so much sense?
6 things I bet you will notice:
1. The pieces are beautiful.
2. The pieces are extraordinary things for a person to have conceived and written.
3. The pieces are evidence that the people who lived centuries ago may not have been all that different from us.
4. The pieces that have no words (especially the solo piano pieces) are the ones that seem most abstract. They seem to be full of a kind of meaning as you are listening to them, but once they are done, there seems to be no takeaway message.
5. The choral pieces seem more expressive than the solo piano pieces do.
6. Listening to these pieces of music is a really great way to spend some time!
I hope you enjoy and find some new music, and I'll look forward to your comments.
Peter Himmelman's dusky baritone, live at Pandora
Minnesota-based songwriter Peter Himmelman has had an intriguing and varied career. He started out in MPLS working with R&B crooner Alexander O'Neal, and over time brought his own dusky baritone to work in support of his soulful and thoroughly American songwriting. He writes and produces original albums of children's music as well. What we didn't realize is what a crack-up Himmelman is, as you'll see in these interviews.
"Georgia Clay"
"Sit Tight"
"Phone Call From Chicago"
"Been Set Free"
"Georgia Clay"
"Sit Tight"
"Phone Call From Chicago"
"Been Set Free"
Mike Seeger's Old Time Music
The music that we're speaking of is a cultural resource that we've built up over thousands of years... Before we had radio and phonographs... The music from these earlier, old times endured through the generations because of its rich and varied sounds and lyrics and because it filled the needs of the people, who, after all, created it for themselves. - Mike Seeger
As many of you probably know, Mike Seeger died on August 7. I've been listening to some of his work and thought it would be cool to have some company, so I've made a station called Mike Seeger's Old Time Dream, based on our collections of Mike Seeger's music as well as our collection of the New Lost City Ramblers, the group that he founded and played with for more than 50 years.
Mike Seeger was a key participant and leader in the "old time music" movement, and if you're not familiar with this music, you're on the threshold of a very cool discovery. Even if you ultimately decide you don't particularly like it (doubtful, I bet), old time music's acoustic instrumentation, rough performances, and old shared songs preserve a powerful way of making music (and perhaps of living).
Old time music lets us hear the sound of music as it must have been before recordings were common. Back when performances would have been more idiosyncratic, less standardized, and would have come out in the same ways of speaking and being that the people used in everyday life.
It also takes old, unattributed songs as a main part of its repertoire. These days, assuming someone wanted to write those kinds of songs, modern copyright laws might make sharing them difficult, at least in their recorded form. But songs that were shared freely in the ongoing, practical use and performance of the songs by people in their homes would live on, as the traditional repertoire has for so long.
Mike Seeger's Old Time Dream, indeed.
There is so much to hear and ask about this music, but I'll beg off here and let Mike Seeger do the real work. Looking forward to hearing comments, and thanks for reading and listening!
As many of you probably know, Mike Seeger died on August 7. I've been listening to some of his work and thought it would be cool to have some company, so I've made a station called Mike Seeger's Old Time Dream, based on our collections of Mike Seeger's music as well as our collection of the New Lost City Ramblers, the group that he founded and played with for more than 50 years.
Mike Seeger was a key participant and leader in the "old time music" movement, and if you're not familiar with this music, you're on the threshold of a very cool discovery. Even if you ultimately decide you don't particularly like it (doubtful, I bet), old time music's acoustic instrumentation, rough performances, and old shared songs preserve a powerful way of making music (and perhaps of living).
Old time music lets us hear the sound of music as it must have been before recordings were common. Back when performances would have been more idiosyncratic, less standardized, and would have come out in the same ways of speaking and being that the people used in everyday life.
It also takes old, unattributed songs as a main part of its repertoire. These days, assuming someone wanted to write those kinds of songs, modern copyright laws might make sharing them difficult, at least in their recorded form. But songs that were shared freely in the ongoing, practical use and performance of the songs by people in their homes would live on, as the traditional repertoire has for so long.
Mike Seeger's Old Time Dream, indeed.
There is so much to hear and ask about this music, but I'll beg off here and let Mike Seeger do the real work. Looking forward to hearing comments, and thanks for reading and listening!
Ricky Martin
Ricky Martin was one of the biggest teen idols in Latin America during the '90s and a major figure in American pop music by the end of the decade. A lead singer of Menudo, Martin was blessed with good looks and a nice voice, which helped him become a Latin music star. He also became an actor, earning praise from the Mexican motion picture industry and starring on the American soap opera General Hospital, where he played Miguel Morez, a bartender who sings on the weekends.
Martin (born December 24, 1971) was born and raised in San Juan, Puerto Rico. As a child, he sang in the choir and performed in school plays. When he was six, he began acting in television commercials. Shortly afterward, he took professional singing and acting lessons, which paved the way for his auditions for Menudo. In 1984, when he was 12 years old, he became a member of Menudo. For the next five years, he was the lead singer of the group, helping it to become an international sensation. Once he outgrew Menudo in 1989, he went back home to Puerto Rico, where he completed high school. After graduation, he moved to New York, where he simply relaxed for several months.
Following a few months of inactivity, he began to work his way back into the entertainment industry. He returned to Mexico, where he acted on-stage for a year before returning to the music industry. In 1991, he released his self-titled debut album, which he co-wrote with his fellow Menudo alumnus Robi Rosa, who would become a regular collaborator over the course of Martin's career (often credited as Ian Blake). The album became a sizable hit on the Latin charts. Two years later, he followed it with the Juan Carlos Calderon-produced Me Amarás, which was an even bigger hit, launching him to superstar status in Latin America. In January 1994, he joined the cast of the soap opera General Hospital, playing Miguel Morez. His recurring role was so successful that it landed him a role on Broadway, where he played Marius in Les Miserables. He left General Hospital to perform in the production and stayed with the play for about a year.
In 1995, he released his third album, A Medio Vivir, a record that had a harder rock edge yet also featured such Latin styles as flamenco and cumbia. In early 1998, he released his fourth album, Vuelve. His first English-language pop album -- which like his first long-player also happened to be titled Ricky Martin -- was released in the spring of 1999; it made him an international superstar thanks to blockbuster singles including "Livin' la Vida Loca" and "She's All I Ever Had." A year later, Martin sizzled again with the release of Sound Loaded. His biggest Spanish-language hits were collected on 2001's La Historia, while 2003's Almas del Silencio was an album of new Spanish material. Life, from 2005, was a return to English-language pop. Martin then released MTV Unplugged in 2006 in both CD and DVD formats. ~ Stephen Thomas Erlewine, All Music Guide
Martin (born December 24, 1971) was born and raised in San Juan, Puerto Rico. As a child, he sang in the choir and performed in school plays. When he was six, he began acting in television commercials. Shortly afterward, he took professional singing and acting lessons, which paved the way for his auditions for Menudo. In 1984, when he was 12 years old, he became a member of Menudo. For the next five years, he was the lead singer of the group, helping it to become an international sensation. Once he outgrew Menudo in 1989, he went back home to Puerto Rico, where he completed high school. After graduation, he moved to New York, where he simply relaxed for several months.
Following a few months of inactivity, he began to work his way back into the entertainment industry. He returned to Mexico, where he acted on-stage for a year before returning to the music industry. In 1991, he released his self-titled debut album, which he co-wrote with his fellow Menudo alumnus Robi Rosa, who would become a regular collaborator over the course of Martin's career (often credited as Ian Blake). The album became a sizable hit on the Latin charts. Two years later, he followed it with the Juan Carlos Calderon-produced Me Amarás, which was an even bigger hit, launching him to superstar status in Latin America. In January 1994, he joined the cast of the soap opera General Hospital, playing Miguel Morez. His recurring role was so successful that it landed him a role on Broadway, where he played Marius in Les Miserables. He left General Hospital to perform in the production and stayed with the play for about a year.
In 1995, he released his third album, A Medio Vivir, a record that had a harder rock edge yet also featured such Latin styles as flamenco and cumbia. In early 1998, he released his fourth album, Vuelve. His first English-language pop album -- which like his first long-player also happened to be titled Ricky Martin -- was released in the spring of 1999; it made him an international superstar thanks to blockbuster singles including "Livin' la Vida Loca" and "She's All I Ever Had." A year later, Martin sizzled again with the release of Sound Loaded. His biggest Spanish-language hits were collected on 2001's La Historia, while 2003's Almas del Silencio was an album of new Spanish material. Life, from 2005, was a return to English-language pop. Martin then released MTV Unplugged in 2006 in both CD and DVD formats. ~ Stephen Thomas Erlewine, All Music Guide
Şivan Perwer
Şivan Perwer (pron: Shivân Parwar) (born on September 23, 1955 in Sarıdam (Sorî), Siverek as İsmail Aygün) is a Kurdish poet, writer, musical teacher, singer, and performer on the tembûr (lute). Şivan currently lives in exile after fleeing Turkey in 1976 because of his music.[1] He holds several honorary doctorates in music.[citation needed] He is linked to Kurdish recognition of the Armenian genocide.
For many years, his songs were banned in Iraq, Syria,and Turkey because they are sung in Kurdish and often cite the oppression against the Kurdish people in the Middle East.[2] Cassettes of his music were passed along from hand to hand, despite the risk of imprisonment or death.[citation needed]
Şivan became famous during the period of Kurdish protests against Iraqi rule at Ankara University in 1972.[citation needed] His homemade recordings were smuggled over the border, while thousands of people came to see him perform live. Fearing for his life and the welfare of his family and after calls from Turkish authorities demanding his arrest, he fled Turkey and settled in Germany in 1976. There, Şivan recorded his first official album of traditional Kurdish songs.
In 1991, Şivan appeared at the "Simple Truth" Live aid concert, performing alongside Peter Gabriel, Sting, Paul Simon, Tom Jones, Gipsy Kings as well as other international artists. The proceeds from the concert went to the aid of Kurdish refugees in the Iraqi Kurdistan fleeing the Gulf War and was considered as one of the most important humanitarian efforts for the region.
In 2004, Şivan took an initiative for the improvement of culture in society by establishing the Sivan Perwer International Cultural Foundation in Frankfurt, Germany.
On Tuesday March 21, 2006, Perwer Şivan was featured on PRI's The World in their Global Hits segment.[3]
Thus far, Şivan Perwer has over twenty-five albums, music videos and documentaries.[citation needed] He has written several books and several other publications as well. Şivan has a career expanding over thirty years and has received many honorary Doctorates and International World music prizes.[citation needed]
He has composed music and sung many songs using the poetry of the late Kurdish poet, Cigerxwîn. Cigerxwîn was well-known for his poetry about the Kurdish struggle and also about Kurdish culture and history. At one time, Cigerxwîn referred to Şivan as "the Voice of his poetry".[citation needed] Kurdish songs (or dengbej) are considered by some to be one of the key elements in preserving the Kurdish culture and history.[1]
This section does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2007)
* Govenda Azadîxwazan (1974)
* Hevalê Bargiran im (1974)
* Herne Pêş (1975)
* Ey Ferat (1976)
* Kî ne Em (1977)
* Le Dilbere (1978)
* Hay Dil (1979)
* Gelê Min Rabe (1982)
* Agirî (1983)
* Bilbilo / Ferzê (1984)
* Dotmam (1985)
* Naze(1986)
* Helebçe (1987)
* Xewna Min / Qasimlo (1988)
* Zembîlfiroş (1989)
* Ya Sitar (1995)
* Hêviya Te (1999)
* Roj û Heyv (2000)
* Sare (2004)
For many years, his songs were banned in Iraq, Syria,and Turkey because they are sung in Kurdish and often cite the oppression against the Kurdish people in the Middle East.[2] Cassettes of his music were passed along from hand to hand, despite the risk of imprisonment or death.[citation needed]
Şivan became famous during the period of Kurdish protests against Iraqi rule at Ankara University in 1972.[citation needed] His homemade recordings were smuggled over the border, while thousands of people came to see him perform live. Fearing for his life and the welfare of his family and after calls from Turkish authorities demanding his arrest, he fled Turkey and settled in Germany in 1976. There, Şivan recorded his first official album of traditional Kurdish songs.
In 1991, Şivan appeared at the "Simple Truth" Live aid concert, performing alongside Peter Gabriel, Sting, Paul Simon, Tom Jones, Gipsy Kings as well as other international artists. The proceeds from the concert went to the aid of Kurdish refugees in the Iraqi Kurdistan fleeing the Gulf War and was considered as one of the most important humanitarian efforts for the region.
In 2004, Şivan took an initiative for the improvement of culture in society by establishing the Sivan Perwer International Cultural Foundation in Frankfurt, Germany.
On Tuesday March 21, 2006, Perwer Şivan was featured on PRI's The World in their Global Hits segment.[3]
Thus far, Şivan Perwer has over twenty-five albums, music videos and documentaries.[citation needed] He has written several books and several other publications as well. Şivan has a career expanding over thirty years and has received many honorary Doctorates and International World music prizes.[citation needed]
He has composed music and sung many songs using the poetry of the late Kurdish poet, Cigerxwîn. Cigerxwîn was well-known for his poetry about the Kurdish struggle and also about Kurdish culture and history. At one time, Cigerxwîn referred to Şivan as "the Voice of his poetry".[citation needed] Kurdish songs (or dengbej) are considered by some to be one of the key elements in preserving the Kurdish culture and history.[1]
This section does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2007)
* Govenda Azadîxwazan (1974)
* Hevalê Bargiran im (1974)
* Herne Pêş (1975)
* Ey Ferat (1976)
* Kî ne Em (1977)
* Le Dilbere (1978)
* Hay Dil (1979)
* Gelê Min Rabe (1982)
* Agirî (1983)
* Bilbilo / Ferzê (1984)
* Dotmam (1985)
* Naze(1986)
* Helebçe (1987)
* Xewna Min / Qasimlo (1988)
* Zembîlfiroş (1989)
* Ya Sitar (1995)
* Hêviya Te (1999)
* Roj û Heyv (2000)
* Sare (2004)
Eminem
A protégé of Dr. Dre, rapper Eminem emerged in 1999 as one of the most controversial rappers to ever grace the genre. Using his biting wit and incredible skills to vent on everything from his unhappy childhood to his contempt for the mainstream media, his success became the biggest crossover success the genre had seen since Dre's solo debut seven years earlier. The controversy over his lyrics was the best publicity any musician could afford, and being the first Caucasian rapper to make a significant impact in years may have given him a platform not afforded to equally talented African-American rappers. A gifted producer as well, his talents always seemed overshadowed by his media presence, which was a mix between misunderstood genius and misogynistic homophobe. Both may be true, but his message spoke to legions of disaffected youth who had few role models in the rap world who could relate to the white lower-class experience.
He was born Marshall Mathers in St. Joseph, MO (near Kansas City), spending the better part of his impoverished childhood shuttling back and forth between his hometown and the city of Detroit. Initially attracted to rap as a teen, Eminem began performing at age 14, performing raps in the basement of his high school friend's home. The two went under the names Manix and M&M (soon changed to Eminem), which Mathers took from his own initials. Due to the unavoidable racial boundaries that came with being a white rapper, he decided the easiest way to win over underground hip-hop audiences was to become a battle rapper and improv against other MCs in clubs. Although he wasn't immediately accepted, through time he became such a popular attraction that people would challenge him just to make a name for themselves.
His uncle's suicide prompted a brief exodus from the world of rap, but he returned and found himself courted by several other rappers to start groups. He first joined the New Jacks, and then moved on to Soul Intent, who released Eminem's first recorded single in 1995. A rapper named Proof performed the B-side on the single and enjoyed working with Eminem so much that he asked him to start yet another group. Drafting in a few other friends, the group became known as D-12, a six-member crew that supported one another as solo artists more than they collaborated. The birth of Eminem's first child put his career on hold again as he started working in order to care for his family. This also instilled a bitterness that started to creep into his lyrics as he began to drag personal experiences into the open and make them the topic of his raps.
A debut record, 1996's Infinite, broke his artistic rut but received few good reviews, as comparisons to Nas and AZ came unfavorably. Undaunted, he downplayed many of the positive messages he had been including in his raps and created Slim Shady, an alter ego who was unafraid to say whatever he felt. Tapping into his innermost feelings, he had a bounty of material to work with when his mother was accused of mentally and physically abusing his younger brother the same year. The next year his girlfriend left him and barred him from visiting their child, so he was forced to move back in with his mother, an experience that fueled his hatred toward her and made him even more sympathetic toward his brother. The material he was writing was uncharacteristically dark as he began to abuse drugs and alcohol at a more frequent rate. An unsuccessful suicide attempt was the last straw, as he realized his musical ambitions were the only way to escape his unhappy life. He released the brutal Slim Shady EP, a mean-spirited, funny, and thought-provoking record that was light years ahead of the material he had been writing beforehand. Making quite the impression in the underground not only for his exaggerated, nasal-voiced rapping style but also for his skin color, many quarters dubbed him the music's next "great white hope."
According to legend, Dr. Dre discovered his demo tape on the floor of Interscope label chief Jimmy Iovine's garage, but the reality was that Eminem took second place in the freestyle category at 1997's Rap Olympics MC Battle in Los Angeles and Iovine approached the rapper for a tape afterward. It wasn't until a month or two later that he played the tape for an enthusiastic Dre, who eagerly contacted Eminem. Upon meeting, Dre was taken back by his skin color more than his skill, but within the first hour they had already started recording "My Name Is." Dre agreed to produce his first album and the two released "Just Don't Give a F**k" as a single to preview the new album. A reconciliation with his girlfriend led to the two getting married in the fall of 1998, and Interscope signed the rapper and prepared to give him a massive push on Dre's advice. An appearance on Kid Rock's Devil Without a Cause only helped the buzz that was slowly surrounding him.
The best-selling Slim Shady LP followed in early 1999, scoring a massive hit with the single and video "My Name Is," plus a popular follow-up in "Guilty Conscience"; over the next year, the album went triple platinum. With such wide exposure, controversy ensued over the album's content, with some harshly criticizing its cartoon-ish, graphic violence; others praised its edginess and surreal humor, as well as Eminem's own undeniable lyrical skills and Dre's inventive production. In between albums, Eminem appeared on Dre's 2001, with his contributions providing some of the record's liveliest moments.
The Marshall Mathers LP appeared in the summer of 2000, moving close to two million copies in its first week of release on its way to becoming the fastest-selling rap album of all time. Unfortunately, this success also bred more controversy, and no other musician was better suited for it than Eminem. Among the incidents that occurred included a scuffle with Insane Clown Posse's employees in a car stereo shop, a bitter battle with pop star Christina Aguilera over a lyric about her fictional sexual exploits, a lawsuit from his mother over defamation of character, and an attack on a Detroit club goer after Eminem allegedly witnessed the man kissing his wife. Fans ate it up as his album stood strong at the top of the charts. But the mainstream media was not so enamored, as accusations of homophobia and sexism sprung from the inflammatory lyrics in the songs "Kill You" and "Kim." It was this last song that ended his marriage, as the song's chosen topic (violently murdering his real life wife Kim Mathers) drove his spouse to a suicide attempt before they divorced. Eminem toured throughout most of this, settling several of his court cases and engaging a mini-feud with rapper Everlast.
The annual Grammy Awards nominated the album for several awards, and to silence his critics the rapper called on Elton John to duet with him at the ceremony. In 2001, he teamed with several of his old Detroit running buddies and re-formed D-12. Releasing an album with the group, Eminem hit the road with them that summer and tried to ignore the efforts of his mother, who released an album in retaliation to his comments. After getting off of the road, he stepped in front of the camera and filmed 8 Mile, a film loosely based on his life directed by an unlikely fan, Curtis Hanson (Wonder Boys). His constant media exposure died out as well, leaving him time to work on new music.
When he re-emerged in 2002, he splashed onto the scene with "Without Me," a single that attacked Moby and Limp Bizkit and celebrated his return to music. Surprisingly, the following album, The Eminem Show, inspired little controversy. Instead, the popular second single, "Cleanin' Out My Closet," told of his dysfunctional childhood and explained his hatred toward his mother in a mannered, poignant fashion. And being Eminem, he followed this up with an appearance at MTV's Video Music Awards that inspired boos when he verbally assaulted Moby. Targets on his third straight chart-topper, 2004's Encore, ranged from Michael Jackson ("Just Lose It") to war-hungry politicians ("Mosh"). The album was another smash hit for Eminem, but the resulting touring was fraught with setbacks and controversy. First there was a bus crash in Missouri that injured protégé Stat Quo. Then there were reports of the tour being under-attended. There were also rumors of Eminem retiring, which he quickly quelled. However, the tour's European leg was eventually canceled due to "exhaustion," and Em entered rehab for a dependency on sleeping pills. However, by the end of 2005 he was back with a new video. In typical Eminem fashion, the clip for "When I'm Gone" riffed on his recent rehab stay. He also issued a chart-topping greatest-hits set, Curtain Call: The Hits, that December.
The year 2006 was a turbulent one. Mathers remarried Kim on January 14, 2006, but the couple filed for divorce in April. Also in April, D-12 member Proof, Mathers' best friend, was killed in a shooting at a Detroit nightclub. In August, Eminem resurfaced as producer on Obie Trice's Second Round's on Me and in October he was rapping on Akon's hit single "Smack That." He capped the year off with Eminem Presents: The Re-Up, a mixtape featuring artists from his Shady label. ~ Jason Ankeny & Bradley Torreano, All Music Guide
He was born Marshall Mathers in St. Joseph, MO (near Kansas City), spending the better part of his impoverished childhood shuttling back and forth between his hometown and the city of Detroit. Initially attracted to rap as a teen, Eminem began performing at age 14, performing raps in the basement of his high school friend's home. The two went under the names Manix and M&M (soon changed to Eminem), which Mathers took from his own initials. Due to the unavoidable racial boundaries that came with being a white rapper, he decided the easiest way to win over underground hip-hop audiences was to become a battle rapper and improv against other MCs in clubs. Although he wasn't immediately accepted, through time he became such a popular attraction that people would challenge him just to make a name for themselves.
His uncle's suicide prompted a brief exodus from the world of rap, but he returned and found himself courted by several other rappers to start groups. He first joined the New Jacks, and then moved on to Soul Intent, who released Eminem's first recorded single in 1995. A rapper named Proof performed the B-side on the single and enjoyed working with Eminem so much that he asked him to start yet another group. Drafting in a few other friends, the group became known as D-12, a six-member crew that supported one another as solo artists more than they collaborated. The birth of Eminem's first child put his career on hold again as he started working in order to care for his family. This also instilled a bitterness that started to creep into his lyrics as he began to drag personal experiences into the open and make them the topic of his raps.
A debut record, 1996's Infinite, broke his artistic rut but received few good reviews, as comparisons to Nas and AZ came unfavorably. Undaunted, he downplayed many of the positive messages he had been including in his raps and created Slim Shady, an alter ego who was unafraid to say whatever he felt. Tapping into his innermost feelings, he had a bounty of material to work with when his mother was accused of mentally and physically abusing his younger brother the same year. The next year his girlfriend left him and barred him from visiting their child, so he was forced to move back in with his mother, an experience that fueled his hatred toward her and made him even more sympathetic toward his brother. The material he was writing was uncharacteristically dark as he began to abuse drugs and alcohol at a more frequent rate. An unsuccessful suicide attempt was the last straw, as he realized his musical ambitions were the only way to escape his unhappy life. He released the brutal Slim Shady EP, a mean-spirited, funny, and thought-provoking record that was light years ahead of the material he had been writing beforehand. Making quite the impression in the underground not only for his exaggerated, nasal-voiced rapping style but also for his skin color, many quarters dubbed him the music's next "great white hope."
According to legend, Dr. Dre discovered his demo tape on the floor of Interscope label chief Jimmy Iovine's garage, but the reality was that Eminem took second place in the freestyle category at 1997's Rap Olympics MC Battle in Los Angeles and Iovine approached the rapper for a tape afterward. It wasn't until a month or two later that he played the tape for an enthusiastic Dre, who eagerly contacted Eminem. Upon meeting, Dre was taken back by his skin color more than his skill, but within the first hour they had already started recording "My Name Is." Dre agreed to produce his first album and the two released "Just Don't Give a F**k" as a single to preview the new album. A reconciliation with his girlfriend led to the two getting married in the fall of 1998, and Interscope signed the rapper and prepared to give him a massive push on Dre's advice. An appearance on Kid Rock's Devil Without a Cause only helped the buzz that was slowly surrounding him.
The best-selling Slim Shady LP followed in early 1999, scoring a massive hit with the single and video "My Name Is," plus a popular follow-up in "Guilty Conscience"; over the next year, the album went triple platinum. With such wide exposure, controversy ensued over the album's content, with some harshly criticizing its cartoon-ish, graphic violence; others praised its edginess and surreal humor, as well as Eminem's own undeniable lyrical skills and Dre's inventive production. In between albums, Eminem appeared on Dre's 2001, with his contributions providing some of the record's liveliest moments.
The Marshall Mathers LP appeared in the summer of 2000, moving close to two million copies in its first week of release on its way to becoming the fastest-selling rap album of all time. Unfortunately, this success also bred more controversy, and no other musician was better suited for it than Eminem. Among the incidents that occurred included a scuffle with Insane Clown Posse's employees in a car stereo shop, a bitter battle with pop star Christina Aguilera over a lyric about her fictional sexual exploits, a lawsuit from his mother over defamation of character, and an attack on a Detroit club goer after Eminem allegedly witnessed the man kissing his wife. Fans ate it up as his album stood strong at the top of the charts. But the mainstream media was not so enamored, as accusations of homophobia and sexism sprung from the inflammatory lyrics in the songs "Kill You" and "Kim." It was this last song that ended his marriage, as the song's chosen topic (violently murdering his real life wife Kim Mathers) drove his spouse to a suicide attempt before they divorced. Eminem toured throughout most of this, settling several of his court cases and engaging a mini-feud with rapper Everlast.
The annual Grammy Awards nominated the album for several awards, and to silence his critics the rapper called on Elton John to duet with him at the ceremony. In 2001, he teamed with several of his old Detroit running buddies and re-formed D-12. Releasing an album with the group, Eminem hit the road with them that summer and tried to ignore the efforts of his mother, who released an album in retaliation to his comments. After getting off of the road, he stepped in front of the camera and filmed 8 Mile, a film loosely based on his life directed by an unlikely fan, Curtis Hanson (Wonder Boys). His constant media exposure died out as well, leaving him time to work on new music.
When he re-emerged in 2002, he splashed onto the scene with "Without Me," a single that attacked Moby and Limp Bizkit and celebrated his return to music. Surprisingly, the following album, The Eminem Show, inspired little controversy. Instead, the popular second single, "Cleanin' Out My Closet," told of his dysfunctional childhood and explained his hatred toward his mother in a mannered, poignant fashion. And being Eminem, he followed this up with an appearance at MTV's Video Music Awards that inspired boos when he verbally assaulted Moby. Targets on his third straight chart-topper, 2004's Encore, ranged from Michael Jackson ("Just Lose It") to war-hungry politicians ("Mosh"). The album was another smash hit for Eminem, but the resulting touring was fraught with setbacks and controversy. First there was a bus crash in Missouri that injured protégé Stat Quo. Then there were reports of the tour being under-attended. There were also rumors of Eminem retiring, which he quickly quelled. However, the tour's European leg was eventually canceled due to "exhaustion," and Em entered rehab for a dependency on sleeping pills. However, by the end of 2005 he was back with a new video. In typical Eminem fashion, the clip for "When I'm Gone" riffed on his recent rehab stay. He also issued a chart-topping greatest-hits set, Curtain Call: The Hits, that December.
The year 2006 was a turbulent one. Mathers remarried Kim on January 14, 2006, but the couple filed for divorce in April. Also in April, D-12 member Proof, Mathers' best friend, was killed in a shooting at a Detroit nightclub. In August, Eminem resurfaced as producer on Obie Trice's Second Round's on Me and in October he was rapping on Akon's hit single "Smack That." He capped the year off with Eminem Presents: The Re-Up, a mixtape featuring artists from his Shady label. ~ Jason Ankeny & Bradley Torreano, All Music Guide
Sean Paul
Dancehall superstar Sean Paul began scoring hit singles in Jamaica starting in 1996 and thereafter steadily began attracting international attention, eventual breaking into the pop mainstream in 2002 with Dutty Rock. Born Sean Paul Henriques on January 8, 1973, the multi-ethnic Paul (his parents had Portuguese, Chinese, and Jamaican blood) grew up comfortably in St. Andrew, Jamaica, his mother a renowned painter. He was a skilled athlete, excelling in swimming and especially water polo, playing for the Jamaican national team in the latter. Although his education was enough to land a prosperous career, dancehall music remained Paul's first love, particularly crafting rhythm tracks. He became a DJ after he began writing his own songs, patterning his style largely after Super Cat and finding a mentor in Don Yute; he also found contacts in several members of the reggae-pop band Third World in 1993, which helped open up business connections.
Paul released his debut single, "Baby Girl," with producer Jeremy Harding in 1996; it proved a significant success, leading to further Jamaican hits like "Nah Get No Bly (One More Try)," "Deport Them," "Excite Me," "Infiltrate," and "Hackle Mi. " In 1999, Sean Paul started to make inroads to American audiences; he was first commissioned to collaborate with fellow dancehall hitmaker Mr. Vegas on a production for rapper DMX; titled "Here Comes the Boom," the song was included in director Hype Williams' film Belly. Also that year, Paul scored a Top Ten hit on the Billboard rap charts with "Hot Gal Today." Unfortunately, Paul had a very public falling out with Mr. Vegas over the packaging of the latter's remix of "Hot Gal Today"; still, it didn't slow Paul's career momentum, as he played the Summer Jam 2000 in New York City, the center of his American popularity. That fall, Paul released his first album on VP Records; the sprawling Stage One collected many of Paul's previous hit singles and compilation cuts, plus a few brand-new tracks. 2002's Dutty Rock and 2005's The Trinity were extremely successful. Both albums peaked in the Top Ten of the album chart and featured a handful of mainstream smashes. ~ Steve Huey, All Music Guide
Paul released his debut single, "Baby Girl," with producer Jeremy Harding in 1996; it proved a significant success, leading to further Jamaican hits like "Nah Get No Bly (One More Try)," "Deport Them," "Excite Me," "Infiltrate," and "Hackle Mi. " In 1999, Sean Paul started to make inroads to American audiences; he was first commissioned to collaborate with fellow dancehall hitmaker Mr. Vegas on a production for rapper DMX; titled "Here Comes the Boom," the song was included in director Hype Williams' film Belly. Also that year, Paul scored a Top Ten hit on the Billboard rap charts with "Hot Gal Today." Unfortunately, Paul had a very public falling out with Mr. Vegas over the packaging of the latter's remix of "Hot Gal Today"; still, it didn't slow Paul's career momentum, as he played the Summer Jam 2000 in New York City, the center of his American popularity. That fall, Paul released his first album on VP Records; the sprawling Stage One collected many of Paul's previous hit singles and compilation cuts, plus a few brand-new tracks. 2002's Dutty Rock and 2005's The Trinity were extremely successful. Both albums peaked in the Top Ten of the album chart and featured a handful of mainstream smashes. ~ Steve Huey, All Music Guide
Enya
With her blend of folk melodies, synthesized backdrops, and classical motifs, Enya created a distinctive style that more closely resembled new age than the folk and Celtic music that provided her initial influences. Enya is from Gweedore, County Donegal, Ireland, which she left in 1980 to join the Irish band Clannad, the group that already featured her older brothers and sisters. She stayed with Clannad for two years, then left, hooking up with producer Nicky Ryan and lyricist Roma Ryan, with whom she recorded film and television scores. The result was a successful album of TV music for the BBC. Enya then recorded Watermark (1988), which featured her distinctive, flowing music and multi-overdubbed trancelike singing; the album sold four million copies worldwide. Watermark established Enya as an international star and launched a successful career that lasted well into the '90s.
Enya (born Eithne Ní Bhraonáin) was born into a musical family. Her father, Leo Brennan, was the leader of the Slieve Foy Band, a popular Irish show band; her mother was an amateur musician. Most important to Enya's career were her siblings, who formed Clannad in 1976 with several of their uncles. Enya joined the band as a keyboardist in 1979 and contributed to several of the group's popular television soundtracks. In 1982, she left Clannad, claiming that she was uninterested in following the pop direction the group had begun to pursue. Within a few years, she was commissioned, along with producer/arranger Nicky Ryan and lyricist Roma Ryan, to provide the score for a BBC-TV series called The Celts. The soundtrack was released in 1986 as her eponymous solo album.
Enya didn't receive much notice, but Enya and the Ryans' second effort, Watermark, became a surprise hit upon its release in 1988. "Orinoco Flow," the first single, became a number one hit in Britain, helping the album eventually sell eight million copies worldwide. Enya spent the years following the success of Watermark rather quietly; her most notable appearance was a cameo on Sinéad O'Connor's I Do Not Want What I Haven't Got. She finally released Shepherd Moons, her follow-up to Watermark, in 1991. Shepherd Moons was even more successful than its predecessor, eventually selling over ten million copies worldwide; it entered the U.S. charts at number 17 and remained in the Top 200 for almost four years.
Again, Enya was slow to follow up on the success of Shepherd Moons, spending nearly four years working on her fourth album. The record, entitled Memory of Trees, was released in December 1995. Memory of Trees entered the U.S. charts at number nine and sold over two million copies within its first year of release. In 1997 came the release of a greatest-hits collection, Paint the Sky with Stars: The Best of Enya, which featured two new songs. Enya's first album of new material in five years, Day Without Rain, was released in late 2000. In 2002, she contributed material to the first film in Peter Jackson's award-winning Lord of the Rings trilogy, scoring a hit with the single "May It Be." Amarantine, her first full-length recording since Day Without Rain, followed in November 2005. A holiday EP, Christmas Secrets, arrived in 2006, followed by an all new, full-length collection of original seasonal music called And Winter Came in 2008. ~ Stephen Thomas Erlewine & William Ruhlmann, All Music Guide
Enya (born Eithne Ní Bhraonáin) was born into a musical family. Her father, Leo Brennan, was the leader of the Slieve Foy Band, a popular Irish show band; her mother was an amateur musician. Most important to Enya's career were her siblings, who formed Clannad in 1976 with several of their uncles. Enya joined the band as a keyboardist in 1979 and contributed to several of the group's popular television soundtracks. In 1982, she left Clannad, claiming that she was uninterested in following the pop direction the group had begun to pursue. Within a few years, she was commissioned, along with producer/arranger Nicky Ryan and lyricist Roma Ryan, to provide the score for a BBC-TV series called The Celts. The soundtrack was released in 1986 as her eponymous solo album.
Enya didn't receive much notice, but Enya and the Ryans' second effort, Watermark, became a surprise hit upon its release in 1988. "Orinoco Flow," the first single, became a number one hit in Britain, helping the album eventually sell eight million copies worldwide. Enya spent the years following the success of Watermark rather quietly; her most notable appearance was a cameo on Sinéad O'Connor's I Do Not Want What I Haven't Got. She finally released Shepherd Moons, her follow-up to Watermark, in 1991. Shepherd Moons was even more successful than its predecessor, eventually selling over ten million copies worldwide; it entered the U.S. charts at number 17 and remained in the Top 200 for almost four years.
Again, Enya was slow to follow up on the success of Shepherd Moons, spending nearly four years working on her fourth album. The record, entitled Memory of Trees, was released in December 1995. Memory of Trees entered the U.S. charts at number nine and sold over two million copies within its first year of release. In 1997 came the release of a greatest-hits collection, Paint the Sky with Stars: The Best of Enya, which featured two new songs. Enya's first album of new material in five years, Day Without Rain, was released in late 2000. In 2002, she contributed material to the first film in Peter Jackson's award-winning Lord of the Rings trilogy, scoring a hit with the single "May It Be." Amarantine, her first full-length recording since Day Without Rain, followed in November 2005. A holiday EP, Christmas Secrets, arrived in 2006, followed by an all new, full-length collection of original seasonal music called And Winter Came in 2008. ~ Stephen Thomas Erlewine & William Ruhlmann, All Music Guide
Shaggy
Emerging in the early '90s, Shaggy was the biggest crossover success in dancehall reggae. Not only did he become the genre's most commercially potent artist in the international market, he was also more than just a typical flash in the pan, managing to sustain a career over the course of several highly popular albums. Perhaps in part because he wasn't based in Jamaica, he never really needed to have it both ways: virtually ignoring the hardcore dancehall crowd, his music was unabashedly geared toward good times, a friendly (if horny) persona, and catchy party anthems. He wasn't shy about lifting hooks wholesale from pop hits of the past, a chart-ready blueprint similar to that of hip-hop stars like Puff Daddy, but he also had fairly eclectic tastes, giving his records a musical variety lacking from other dancehall stars. As a result, he became one of the scant few reggae artists to top the album and pop singles charts in America, not to mention numerous other countries where he's had even greater success.
Shaggy was born Orville Richard Burrell on October 22, 1968, in Kingston, Jamaica, and was nicknamed after the Scooby-Doo character. At age 18, he joined his mother in the Flatbush area of Brooklyn, New York, and soon began performing with the local Jamaican-style sound system Gibraltar Musik. A steady income proved to be a more pressing matter, however, and in 1988 Shaggy joined the Marines. Stationed at Camp Lejeune in North Carolina, he continued to pursue music in his free time, and often made the drive back to New York for recording sessions. He cut his first single, "Man a Mi Yard" b/w "Bullet Proof Buddy," at age 20 for producer Don One's own small label; for the follow-up, "Big Hood" b/w "Duppy or Uglyman," he worked with producer Lloyd "Spiderman" Campbell.
Shaggy's most important connection, however, proved to be radio DJ/studio engineer Sting (born Shaun Pizzonia), who got him a gig cutting dubplates at Phillip Smart's studio. One of those records, "Mampie," became a huge hit among New York reggae fans; its follow-up, "Big Up," was even more popular locally, and marked the first of several duets with Brooklyn singer Rayvon. However, Shaggy still had obligations to the military, and his budding career was interrupted by Operation Desert Storm in 1991; he was sent to Kuwait for a five-month tour of duty. After returning to Camp Lejeune, Shaggy resumed his sessions in New York, and waxed a cover of the Folkes Brothers' ska hit "Oh Carolina." Originally recorded for Prince Buster's label, the song was given a modern dancehall update complete with a prominent "Peter Gunn" sample. At first, "Oh Carolina" was simply another local hit, but thanks to some overseas promotion, it was picked up for release in the U.K. by Greensleeves in late 1992. It was an instant smash, vaulting all the way to the top of the British pop charts early the next year and doing the same in several other European countries.
"Oh Carolina" wasn't as big a hit in the U.S., where it stalled in the lower half of the charts, despite its inclusion on the hit soundtrack to the Sharon Stone film Sliver. Furthermore, its follow-up singles, the tongue-in-cheek gospel of "Soon Be Done" and the jazzy "Nice and Lovely," failed to duplicate its success. Nonetheless, the overseas success of "Oh Carolina," coupled with the high-profile Maxi Priest duet "One More Chance," was enough to land Shaggy a lucrative deal with Virgin Records. His debut album, Pure Pleasure, was released in 1993, and included many of his recent singles; the following year, Greensleeves issued a collection called Original Doberman, which covered many of his earliest recordings.
Now firmly a star in Europe, Shaggy went on to conquer the U.S. with his next album, 1995's Boombastic. The title track was an inescapable hit, selling over a million copies; it reached number three on the pop charts and number one on the R&B charts, and also became his second U.K. chart-topper. "In the Summertime," the flip side of the American single release of "Boombastic," climbed into the U.K. Top Five as a follow-up. Meanwhile, the album went platinum, nearly reaching the R&B Top Ten, and spent a full year at number one on Billboard's reggae album chart; it also won a Grammy for Best Reggae Album. A third single, "Why You Treat Me So Bad," featured guest rapper Grand Puba and nearly reached the British Top Ten in 1996, but failed to make much of an impact stateside.
Shaggy followed his breakout success with an extensive world tour, consolidating his European following, and recorded a hit duet with Maxi Priest, "That Girl," in 1996. He returned to solo action in 1997 with the Midnite Lover album. The first single, a dancehall version of Big Brother & the Holding Company's "Piece of My Heart" featuring duet partner Marsha, was a relative flop in the U.S., though it had some international success. Similarly, the album was a commercial disappointment, and Virgin, assuming that Shaggy's moment had passed (as it quickly had for many of dancehall's crossover hitmakers), dropped him from its roster.
Undaunted, Shaggy turned to movie soundtracks to keep his name in the public eye. He appeared on a minor hit duet with Janet Jackson, "Luv Me, Luv Me," from the soundtrack of How Stella Got Her Groove Back in 1998, and followed it by contributing the solo cut "Hope" to For Love of the Game in 1999. By this time, he was able to land a new deal with MCA, and rewarded them with one of the biggest-selling reggae albums ever. Released in 2000, Hot Shot started off slowly as its lead single, "Dance and Shout," flopped in the States. However, a radio DJ in Hawaii downloaded the track "It Wasn't Me" (featuring Rik Rok) from Napster, and began playing it on his show. Soon it was a national hit, rocketing up the pop charts and hitting number one in early 2001; naturally, it did likewise in the U.K. and many other European countries. Its follow-up, "Angel" -- a rewrite of the country hit "Angel of the Morning," featuring Rayvon on vocals -- also went straight to number one in the U.S. and U.K. Hot Shot, meanwhile, spent six weeks at number one on the album charts and eventually sold over six million copies in the U.S. alone -- an almost unheard-of figure for a reggae release.
While Shaggy prepared his follow-up album, more pieces of product hit the market in 2002: Virgin put out Mr. Lover Lover: The Best of Shaggy, Vol. 1, a compilation covering his years at the label, while MCA issued a remix album, Hot Shot Ultramix. Before the end of the year, Shaggy released his new album Lucky Day, which was loosely designed as a respectful tribute to womankind. Its first two singles, "Hey Sexy Lady" and "Strength of a Woman," didn't fare well in the U.S., but the album sold respectably well, going gold by year's end and charting in the Top 30 on both the pop and R&B listings. In 2005 he returned with Clothes Drop, this time on the Geffen label. Early in 2007 his "Church Heathen" single began dominating the dancehall scene thanks in part to its video starring the legendary Ninjaman as a priest. The big hit single landed on Shaggy's album Intoxication released that same year. ~ Steve Huey, All Music Guide
Shaggy was born Orville Richard Burrell on October 22, 1968, in Kingston, Jamaica, and was nicknamed after the Scooby-Doo character. At age 18, he joined his mother in the Flatbush area of Brooklyn, New York, and soon began performing with the local Jamaican-style sound system Gibraltar Musik. A steady income proved to be a more pressing matter, however, and in 1988 Shaggy joined the Marines. Stationed at Camp Lejeune in North Carolina, he continued to pursue music in his free time, and often made the drive back to New York for recording sessions. He cut his first single, "Man a Mi Yard" b/w "Bullet Proof Buddy," at age 20 for producer Don One's own small label; for the follow-up, "Big Hood" b/w "Duppy or Uglyman," he worked with producer Lloyd "Spiderman" Campbell.
Shaggy's most important connection, however, proved to be radio DJ/studio engineer Sting (born Shaun Pizzonia), who got him a gig cutting dubplates at Phillip Smart's studio. One of those records, "Mampie," became a huge hit among New York reggae fans; its follow-up, "Big Up," was even more popular locally, and marked the first of several duets with Brooklyn singer Rayvon. However, Shaggy still had obligations to the military, and his budding career was interrupted by Operation Desert Storm in 1991; he was sent to Kuwait for a five-month tour of duty. After returning to Camp Lejeune, Shaggy resumed his sessions in New York, and waxed a cover of the Folkes Brothers' ska hit "Oh Carolina." Originally recorded for Prince Buster's label, the song was given a modern dancehall update complete with a prominent "Peter Gunn" sample. At first, "Oh Carolina" was simply another local hit, but thanks to some overseas promotion, it was picked up for release in the U.K. by Greensleeves in late 1992. It was an instant smash, vaulting all the way to the top of the British pop charts early the next year and doing the same in several other European countries.
"Oh Carolina" wasn't as big a hit in the U.S., where it stalled in the lower half of the charts, despite its inclusion on the hit soundtrack to the Sharon Stone film Sliver. Furthermore, its follow-up singles, the tongue-in-cheek gospel of "Soon Be Done" and the jazzy "Nice and Lovely," failed to duplicate its success. Nonetheless, the overseas success of "Oh Carolina," coupled with the high-profile Maxi Priest duet "One More Chance," was enough to land Shaggy a lucrative deal with Virgin Records. His debut album, Pure Pleasure, was released in 1993, and included many of his recent singles; the following year, Greensleeves issued a collection called Original Doberman, which covered many of his earliest recordings.
Now firmly a star in Europe, Shaggy went on to conquer the U.S. with his next album, 1995's Boombastic. The title track was an inescapable hit, selling over a million copies; it reached number three on the pop charts and number one on the R&B charts, and also became his second U.K. chart-topper. "In the Summertime," the flip side of the American single release of "Boombastic," climbed into the U.K. Top Five as a follow-up. Meanwhile, the album went platinum, nearly reaching the R&B Top Ten, and spent a full year at number one on Billboard's reggae album chart; it also won a Grammy for Best Reggae Album. A third single, "Why You Treat Me So Bad," featured guest rapper Grand Puba and nearly reached the British Top Ten in 1996, but failed to make much of an impact stateside.
Shaggy followed his breakout success with an extensive world tour, consolidating his European following, and recorded a hit duet with Maxi Priest, "That Girl," in 1996. He returned to solo action in 1997 with the Midnite Lover album. The first single, a dancehall version of Big Brother & the Holding Company's "Piece of My Heart" featuring duet partner Marsha, was a relative flop in the U.S., though it had some international success. Similarly, the album was a commercial disappointment, and Virgin, assuming that Shaggy's moment had passed (as it quickly had for many of dancehall's crossover hitmakers), dropped him from its roster.
Undaunted, Shaggy turned to movie soundtracks to keep his name in the public eye. He appeared on a minor hit duet with Janet Jackson, "Luv Me, Luv Me," from the soundtrack of How Stella Got Her Groove Back in 1998, and followed it by contributing the solo cut "Hope" to For Love of the Game in 1999. By this time, he was able to land a new deal with MCA, and rewarded them with one of the biggest-selling reggae albums ever. Released in 2000, Hot Shot started off slowly as its lead single, "Dance and Shout," flopped in the States. However, a radio DJ in Hawaii downloaded the track "It Wasn't Me" (featuring Rik Rok) from Napster, and began playing it on his show. Soon it was a national hit, rocketing up the pop charts and hitting number one in early 2001; naturally, it did likewise in the U.K. and many other European countries. Its follow-up, "Angel" -- a rewrite of the country hit "Angel of the Morning," featuring Rayvon on vocals -- also went straight to number one in the U.S. and U.K. Hot Shot, meanwhile, spent six weeks at number one on the album charts and eventually sold over six million copies in the U.S. alone -- an almost unheard-of figure for a reggae release.
While Shaggy prepared his follow-up album, more pieces of product hit the market in 2002: Virgin put out Mr. Lover Lover: The Best of Shaggy, Vol. 1, a compilation covering his years at the label, while MCA issued a remix album, Hot Shot Ultramix. Before the end of the year, Shaggy released his new album Lucky Day, which was loosely designed as a respectful tribute to womankind. Its first two singles, "Hey Sexy Lady" and "Strength of a Woman," didn't fare well in the U.S., but the album sold respectably well, going gold by year's end and charting in the Top 30 on both the pop and R&B listings. In 2005 he returned with Clothes Drop, this time on the Geffen label. Early in 2007 his "Church Heathen" single began dominating the dancehall scene thanks in part to its video starring the legendary Ninjaman as a priest. The big hit single landed on Shaggy's album Intoxication released that same year. ~ Steve Huey, All Music Guide
Sting
After disbanding the Police at the peak of their popularity in 1984, Sting quickly established himself as a viable solo artist, one obsessed with expanding the boundaries of pop music. Sting incorporated heavy elements of jazz, classical, and worldbeat into his music, writing lyrics that were literate and self-consciously meaningful, and he was never afraid to emphasize this fact in the press. For such unabashed ambition, he was equally loved and reviled, with supporters believing that he was at the forefront of literate, intelligent rock and his critics finding his entire body of work pompous. Either way, Sting remained one of pop's biggest superstars for the first ten years of his solo career, before his record sales began to slip.
Before the Police were officially disbanded, Sting began work on his first solo album late in 1984, rounding up a group of jazz musicians as a supporting band. Moving from bass to guitar, he recorded his solo debut, 1985's The Dream of the Blue Turtles, with Branford Marsalis, Kenny Kirkland, and Omar Hakim. The move wasn't entirely unexpected, since Sting had played with jazz and progressive rock bands in his youth, but the result was considerably more mature and diverse than any Police record. The album became a hit, with "If You Love Somebody Set Them Free," "Love Is the Seventh Wave," and "Fortress Around Your Heart" reaching the American Top Ten. Sting brought the band out on an extensive tour, which was captured on a documentary called Bring on the Night, which appeared in 1986, along with a live double album of the same name. That year, Sting participated in a half-hearted Police reunion that resulted in only one new song, a re-recorded version of "Don't Stand So Close to Me."
Following the aborted Police reunion, Sting began working on the ambitious Nothing Like the Sun, which was dedicated to his recently deceased mother. Working from a jazz foundation, and again collaborating with Marsalis, Sting worked with a number of different musicians on the album, including Gil Evans and former Police guitarist Andy Summers. The album received generally positive reviews upon its release in late 1987, and it generated hit singles with "We'll Be Together" and "They Dance Alone." Following its release, Sting began actively campaigning for Amnesty International and environmentalism, establishing the Rainforest Foundation, which was designed to raise awareness about preserving the Brazilian rainforest. An abridged Spanish version of Nothing Like the Sun, Nada Como el Sol, was released in 1988.
Sting took several years to deliver the follow-up to Nothing Like the Sun, during which time he appeared in a failed Broadway revival of The Threepenny Opera in 1989. His father also died, which inspired 1991's The Soul Cages, a dense, dark, and complex album. Although the album peaked at number two and spawned the Top Ten hit "All This Time," the record was less successful than its predecessor. Two years later, he delivered Ten Summoner's Tales, a light, pop-oriented record that became a hit on the strength of two Top 20 singles, "If I Ever Lose My Faith in You" and "Fields of Gold." At the end of 1993, "All for Love," a song he recorded with Rod Stewart and Bryan Adams for The Three Musketeers, became a number one hit. The single confirmed that Sting's audience had shifted from new wave/college rock fans to adult contemporary, and the 1994 compilation Fields of Gold: The Best of Sting played to that audience.
Three years after Ten Summoner's Tales, Sting released Mercury Falling in the spring of 1996. Although the album debuted highly, it quickly fell down the charts, stalling at platinum sales and failing to generate a hit single. While the album failed, Sting remained a popular concert attraction, confirming his immense popularity. Brand New Day, which followed in 1999, turned his commercial fortunes around in a big way, and 2003's Sacred Love did well also. ~ Stephen Thomas Erlewine, All Music Guide
Before the Police were officially disbanded, Sting began work on his first solo album late in 1984, rounding up a group of jazz musicians as a supporting band. Moving from bass to guitar, he recorded his solo debut, 1985's The Dream of the Blue Turtles, with Branford Marsalis, Kenny Kirkland, and Omar Hakim. The move wasn't entirely unexpected, since Sting had played with jazz and progressive rock bands in his youth, but the result was considerably more mature and diverse than any Police record. The album became a hit, with "If You Love Somebody Set Them Free," "Love Is the Seventh Wave," and "Fortress Around Your Heart" reaching the American Top Ten. Sting brought the band out on an extensive tour, which was captured on a documentary called Bring on the Night, which appeared in 1986, along with a live double album of the same name. That year, Sting participated in a half-hearted Police reunion that resulted in only one new song, a re-recorded version of "Don't Stand So Close to Me."
Following the aborted Police reunion, Sting began working on the ambitious Nothing Like the Sun, which was dedicated to his recently deceased mother. Working from a jazz foundation, and again collaborating with Marsalis, Sting worked with a number of different musicians on the album, including Gil Evans and former Police guitarist Andy Summers. The album received generally positive reviews upon its release in late 1987, and it generated hit singles with "We'll Be Together" and "They Dance Alone." Following its release, Sting began actively campaigning for Amnesty International and environmentalism, establishing the Rainforest Foundation, which was designed to raise awareness about preserving the Brazilian rainforest. An abridged Spanish version of Nothing Like the Sun, Nada Como el Sol, was released in 1988.
Sting took several years to deliver the follow-up to Nothing Like the Sun, during which time he appeared in a failed Broadway revival of The Threepenny Opera in 1989. His father also died, which inspired 1991's The Soul Cages, a dense, dark, and complex album. Although the album peaked at number two and spawned the Top Ten hit "All This Time," the record was less successful than its predecessor. Two years later, he delivered Ten Summoner's Tales, a light, pop-oriented record that became a hit on the strength of two Top 20 singles, "If I Ever Lose My Faith in You" and "Fields of Gold." At the end of 1993, "All for Love," a song he recorded with Rod Stewart and Bryan Adams for The Three Musketeers, became a number one hit. The single confirmed that Sting's audience had shifted from new wave/college rock fans to adult contemporary, and the 1994 compilation Fields of Gold: The Best of Sting played to that audience.
Three years after Ten Summoner's Tales, Sting released Mercury Falling in the spring of 1996. Although the album debuted highly, it quickly fell down the charts, stalling at platinum sales and failing to generate a hit single. While the album failed, Sting remained a popular concert attraction, confirming his immense popularity. Brand New Day, which followed in 1999, turned his commercial fortunes around in a big way, and 2003's Sacred Love did well also. ~ Stephen Thomas Erlewine, All Music Guide
Evanescence World's Star
The goth-inspired Arkansas rock band Evanescence, with its Linkin Park-meets-Tori Amos sound backed by chugging guitars, easily made it to the top of the charts in 2003 with its Wind-Up Entertainment debut album, Fallen. Singer/pianist Amy Lee and guitarist/songwriter Ben Moody formed the band at the end of the '90s after meeting in their early teens during a "youth camp," Moody said in a statement. "I heard Amy playing Meat Loaf's 'I'd Do Anything for Love' at the piano. So I went over to meet her, and she started singing for me. I was pretty much blown away, so I suckered her into joining a band with me."
As a duo, Evanescence didn't perform live, instead opting to release EPs and the full-length Origin. Lee told the BBC that Evanescence was mastering demos in Memphis, TN, when she and the band were discovered by producer Pete Matthews. He shopped the songs to record companies in New York, and Evanescence -- rounded out by bassist Will Boyd, guitarist John LeCompt, and drummer Rocky Gray -- eventually landed a contract with Wind-Up, the home of Creed. The soundtrack to the 2003 Ben Affleck action movie Daredevil brought success to Evanescence; the begging "Bring Me to Life," which appeared on the soundtrack along with the ballad "My Immortal," became a hit. (Paul McCoy, of labelmates 12 Stones, rapped on "Bring Me to Life," which originated as a piano ballad.) The songs proved to be a head start to Evanescence's future hit album Fallen, produced by Dave Fortman (Boy Sets Fire, Superjoint Ritual) and released in March 2003.
Evanescence ran head first into controversy promoting Fallen. Originally, it was released in the Christian and secular markets; however, the band's use of profanity during an interview with Rolling Stone prompted its label, Wind-Up Records, to recall Fallen from Christian stores. Ironically, 12 Stones are also labeled Christian. Fallen surpassed double-platinum status, reaching the Top Ten in the United States, including the Top Contemporary Christian Albums chart, the Top Five in Canada, and number one in the United Kingdom. It spent more than 100 weeks on Billboard's Top 200; Evanescence also managed to pick up two Grammys (Best New Artist and Best Hard Rock Performance) for the 2003 awards.
During a European tour late that same year, however, Moody abruptly left the group over apparent creative differences. Ex-Cold guitarist Terry Balsamo soon replaced him in the band; he clicked with Lee and the two became cohesive songwriting partners who worked to further define Evanescence's classically influenced hard rock identity. The band continued to tour nonstop for the next year, and they issued the live album Anywhere But Home (recorded at a show in Paris) in November 2004 to hold over fans hungry for their follow-up. It also went platinum. More internal band drama ensued -- including Balsamo recovering from a stroke suffered in fall 2005 and Boyd's departure the following summer -- before that album, The Open Door, finally appeared in early October 2006. Tim McCord (ex-the Revolution Smile) joined up in Boyd's place that August, switching from his usual guitar to bass. Spearheaded by the single "Call Me When You're Sober," the album displayed a broader emotional range amid the band's evolving sound. Evanescence played several intimate theater dates immediately following the record's release before moving on to larger arena shows. ~ Christina Fuoco, All Music Guide
As a duo, Evanescence didn't perform live, instead opting to release EPs and the full-length Origin. Lee told the BBC that Evanescence was mastering demos in Memphis, TN, when she and the band were discovered by producer Pete Matthews. He shopped the songs to record companies in New York, and Evanescence -- rounded out by bassist Will Boyd, guitarist John LeCompt, and drummer Rocky Gray -- eventually landed a contract with Wind-Up, the home of Creed. The soundtrack to the 2003 Ben Affleck action movie Daredevil brought success to Evanescence; the begging "Bring Me to Life," which appeared on the soundtrack along with the ballad "My Immortal," became a hit. (Paul McCoy, of labelmates 12 Stones, rapped on "Bring Me to Life," which originated as a piano ballad.) The songs proved to be a head start to Evanescence's future hit album Fallen, produced by Dave Fortman (Boy Sets Fire, Superjoint Ritual) and released in March 2003.
Evanescence ran head first into controversy promoting Fallen. Originally, it was released in the Christian and secular markets; however, the band's use of profanity during an interview with Rolling Stone prompted its label, Wind-Up Records, to recall Fallen from Christian stores. Ironically, 12 Stones are also labeled Christian. Fallen surpassed double-platinum status, reaching the Top Ten in the United States, including the Top Contemporary Christian Albums chart, the Top Five in Canada, and number one in the United Kingdom. It spent more than 100 weeks on Billboard's Top 200; Evanescence also managed to pick up two Grammys (Best New Artist and Best Hard Rock Performance) for the 2003 awards.
During a European tour late that same year, however, Moody abruptly left the group over apparent creative differences. Ex-Cold guitarist Terry Balsamo soon replaced him in the band; he clicked with Lee and the two became cohesive songwriting partners who worked to further define Evanescence's classically influenced hard rock identity. The band continued to tour nonstop for the next year, and they issued the live album Anywhere But Home (recorded at a show in Paris) in November 2004 to hold over fans hungry for their follow-up. It also went platinum. More internal band drama ensued -- including Balsamo recovering from a stroke suffered in fall 2005 and Boyd's departure the following summer -- before that album, The Open Door, finally appeared in early October 2006. Tim McCord (ex-the Revolution Smile) joined up in Boyd's place that August, switching from his usual guitar to bass. Spearheaded by the single "Call Me When You're Sober," the album displayed a broader emotional range amid the band's evolving sound. Evanescence played several intimate theater dates immediately following the record's release before moving on to larger arena shows. ~ Christina Fuoco, All Music Guide
The Cranberries
Combining the melodic jangle of post-Smiths indie guitar pop with the lilting, trance-inducing sonic textures of late-'80s dream pop and adding a slight Celtic tint, the Cranberries became one of the more successful groups to emerge from the pre-Britpop U.K. indie scene of the early '90s. Led by vocalist Dolores O'Riordan, whose keening, powerful voice is the most distinctive element of the group's sound, the group initially made little impact in the United Kingdom. It wasn't until the lush ballad "Linger" became an American hit in 1993 that the band also achieved mass success in the U.K. Following the success of "Linger," the Cranberries quickly became international stars, as both their 1993 debut album, Everybody Else Is Doing It, So Why Can't We?, and its 1994 follow-up, No Need to Argue, sold millions of copies and produced a string of hit singles. By the time of their third album, 1996's To the Faithful Departed, the group had added distorted guitars to its sonic palette and attempted to make more socially significant music, which resulted in a downturn in the band's commercial fortunes.
Originally, the Cranberries were a band called the Cranberry Saw Us. Brothers Noel and Mike Hogan (guitar and bass, respectively) formed the band in Limerick, Ireland, with drummer Fergal Lawler in 1990. Following the departure of the group's original singer, Niall, the trio placed an advertisement for a female singer. Dolores O'Riordan responded to the advertisement and auditioned by writing lyrics and melodies to some of the band's existing demos. When she returned with a rough version of "Linger," the group hired her on the spot. Shortly after she joined, the band recorded a demo tape that they sold in record stores throughout Ireland. After the original run of 300 copies sold out, the group truncated their name to the Cranberries and sent another demo tape, which featured early versions of both "Linger" and "Dreams," to record companies throughout the U.K. The tape was made at Xeric Studios, which was run by Pearse Gilmore, who would later become their manager. At the time the tape was made, all of the members were still in their late teens.
The demo tape earned the attention of both the U.K. press and record industry, and there soon was a bidding war between major British record labels. Eventually, the group signed with Island Records. The Cranberries headed into the studio with Gilmore as their producer to record their first single, "Uncertain." The title proved to be prophetic, as the band did indeed sound ill at ease on the single, leading to poor reviews in the press, in addition to tensions between the group and Gilmore. Before they were scheduled to record their debut in 1992, the Cranberries discovered that Gilmore had signed a secret deal with Island to improve his studios. The tensions within the band became so great they nearly broke up. Instead, the band severed all relations with Gilmore, hired Geoff Travis of Rough Trade as their new manager, and hired Stephen Street, who had previously worked with the Smiths, as their new producer.
The Cranberries' debut album, Everybody Else Is Doing It, So Why Can't We?, was released in the spring of 1993, followed by a single of "Dreams." Neither the album or the single gained much attention, nor did a second single, "Linger." In the summer and fall of 1993, the band toured the United States, opening for The The and Suede, respectively; frequently, the Cranberries were given a friendlier reception than either of the headliners. The strong live shows led to MTV putting "Linger" into heavy rotation. By the end of the year, the single was on its way to becoming a crossover hit. Eventually, the single reached number eight on the U.S. charts, while the album went double platinum. Everybody Else and "Linger" began to take off in Britain in early 1994; the album eventually peaked at number one during the summer.
O'Riordan married the band's tour manager, Don Burton, in a much-publicized ceremony in July 1994. The marriage, as well as the group's videos, emphasized the singer as the focal point of the band. O'Riordan's position in the group continued to rise with the fall release of the group's second album, No Need to Argue. Boasting a slightly harder, more streamlined sound, yet still produced by Stephen Street, the record debuted at number six on the U.S. charts and eventually outsold its predecessor; within a year it went triple platinum, spawning the number one modern rock hit "Zombie" and the number 11 "Ode to My Family."
During the tour for No Need to Argue, rumors began to circulate that O'Riordan was going to leave the band to pursue a solo career, all of which the band vehemently denied. Nevertheless, the rumors persisted until the band began recording their third album with producer Bruce Fairbairn, who had previously worked with Aerosmith. The resulting album, To the Faithful Departed, was a tougher, more rock-oriented album. Upon its spring 1996 release, the album entered the charts at number six, but its first single, "Salvation," failed to become a hit on par with "Zombie," "Linger," or "Ode to My Family." Consequently, the album slipped down the charts relatively quickly and only went platinum, which was slightly disappointing in light of its two predecessors' multi-platinum status.
During the fall of 1996, the group canceled their Australian and European tour, sparking another round of rumors of whether O'Riordan was about to launch a solo career. In 1999, the group released Bury the Hatchet, and in 2003, shortly after the release of a greatest-hits compilation, Stars: The Best of 1992-2002, the Cranberries officially declared that they were taking a break. This finally gave O'Riordan the time she needed to work on her long-talked-about solo album, and Are You Listening hit shelves in 2007. ~ Stephen Thomas Erlewine, All Music Guide
Originally, the Cranberries were a band called the Cranberry Saw Us. Brothers Noel and Mike Hogan (guitar and bass, respectively) formed the band in Limerick, Ireland, with drummer Fergal Lawler in 1990. Following the departure of the group's original singer, Niall, the trio placed an advertisement for a female singer. Dolores O'Riordan responded to the advertisement and auditioned by writing lyrics and melodies to some of the band's existing demos. When she returned with a rough version of "Linger," the group hired her on the spot. Shortly after she joined, the band recorded a demo tape that they sold in record stores throughout Ireland. After the original run of 300 copies sold out, the group truncated their name to the Cranberries and sent another demo tape, which featured early versions of both "Linger" and "Dreams," to record companies throughout the U.K. The tape was made at Xeric Studios, which was run by Pearse Gilmore, who would later become their manager. At the time the tape was made, all of the members were still in their late teens.
The demo tape earned the attention of both the U.K. press and record industry, and there soon was a bidding war between major British record labels. Eventually, the group signed with Island Records. The Cranberries headed into the studio with Gilmore as their producer to record their first single, "Uncertain." The title proved to be prophetic, as the band did indeed sound ill at ease on the single, leading to poor reviews in the press, in addition to tensions between the group and Gilmore. Before they were scheduled to record their debut in 1992, the Cranberries discovered that Gilmore had signed a secret deal with Island to improve his studios. The tensions within the band became so great they nearly broke up. Instead, the band severed all relations with Gilmore, hired Geoff Travis of Rough Trade as their new manager, and hired Stephen Street, who had previously worked with the Smiths, as their new producer.
The Cranberries' debut album, Everybody Else Is Doing It, So Why Can't We?, was released in the spring of 1993, followed by a single of "Dreams." Neither the album or the single gained much attention, nor did a second single, "Linger." In the summer and fall of 1993, the band toured the United States, opening for The The and Suede, respectively; frequently, the Cranberries were given a friendlier reception than either of the headliners. The strong live shows led to MTV putting "Linger" into heavy rotation. By the end of the year, the single was on its way to becoming a crossover hit. Eventually, the single reached number eight on the U.S. charts, while the album went double platinum. Everybody Else and "Linger" began to take off in Britain in early 1994; the album eventually peaked at number one during the summer.
O'Riordan married the band's tour manager, Don Burton, in a much-publicized ceremony in July 1994. The marriage, as well as the group's videos, emphasized the singer as the focal point of the band. O'Riordan's position in the group continued to rise with the fall release of the group's second album, No Need to Argue. Boasting a slightly harder, more streamlined sound, yet still produced by Stephen Street, the record debuted at number six on the U.S. charts and eventually outsold its predecessor; within a year it went triple platinum, spawning the number one modern rock hit "Zombie" and the number 11 "Ode to My Family."
During the tour for No Need to Argue, rumors began to circulate that O'Riordan was going to leave the band to pursue a solo career, all of which the band vehemently denied. Nevertheless, the rumors persisted until the band began recording their third album with producer Bruce Fairbairn, who had previously worked with Aerosmith. The resulting album, To the Faithful Departed, was a tougher, more rock-oriented album. Upon its spring 1996 release, the album entered the charts at number six, but its first single, "Salvation," failed to become a hit on par with "Zombie," "Linger," or "Ode to My Family." Consequently, the album slipped down the charts relatively quickly and only went platinum, which was slightly disappointing in light of its two predecessors' multi-platinum status.
During the fall of 1996, the group canceled their Australian and European tour, sparking another round of rumors of whether O'Riordan was about to launch a solo career. In 1999, the group released Bury the Hatchet, and in 2003, shortly after the release of a greatest-hits compilation, Stars: The Best of 1992-2002, the Cranberries officially declared that they were taking a break. This finally gave O'Riordan the time she needed to work on her long-talked-about solo album, and Are You Listening hit shelves in 2007. ~ Stephen Thomas Erlewine, All Music Guide
Loreena McKennitt
oreena Isabel Irene McKennitt, CM, OM, (born February 17, 1957) is a Canadian singer, composer, harpist and pianist most famous for writing, recording and performing world music with Celtic and Middle Eastern themes. McKennitt is known for her refined, warbling soprano vocals.
Honors
* Juno Award, Best Roots/Traditional Album 1992, for The Visit.
* Juno Award, Best Roots/Traditional Album 1994, for The Mask and Mirror.
* Billboard International Achievement Award, 1997.
* Headline performer for HRH Queen Elizabeth II and Prince Philip at The Golden Jubilee Celebrations, Province of Manitoba, 2002.
* Honorary Doctor of Letters, Wilfrid Laurier University, 2002.
* Member of the Order of Manitoba, July 2003.
* Member of the Order of Canada, July 2004.
* Honorary Doctor of Laws, University of Manitoba, June 2005
* Canadian Ambassador, Hans Christian Andersen Bicentennary, June 2005
* Honorary Doctor of Laws, Queen's University, October 2005
* Investiture as Honorary Colonel, 435 Squadron, Canadian Air Force, December 2006
* Nominated for a Grammy award, Best Contemporary World Music Album, in 2007
[edit] Genre and work
McKennitt's music has generally been classified as World / Celtic music even though it contains aspects and characteristics of music from around the globe and is sometimes classified as Folk music in record stores.
Before McKennitt composes any music, she engages in considerable research on a specific subject which then forms the general concept of the album. Before creating Elemental and Parallel Dreams, she traveled to Ireland for inspiration from the country's history, folklore, geography and culture. The album The Mask and Mirror was preceded by research in Spain where she engaged in studying Galicia, a Celtic section of Spain, along with its abundant Arabic roots. The result was an album including elements of Celtic and Arabic music. According to the notes of her latest album, An Ancient Muse was inspired primarily by travels among and reading about the various cultures along the Silk Road.
McKennitt is compared to Enya, but McKennitt's music is more grounded in traditional and classical invocations, using literary works as sources of lyrics and springboards for interpretation such as "The Lady of Shalott" by Lord Tennyson, "Prospero's Speech" (the final soliloquy in William Shakespeare's The Tempest), "Snow" by Archibald Lampman, "Dark Night of the Soul" by St. John of the Cross, William Blake's "Lullaby", Yeats' "The Stolen Child", and "The Highwayman" by Alfred Noyes.
[edit] Court case
Main article: McKennitt v Ash
In 2005, McKennitt was involved in an acrimonious court case in England when her former friend and employee, Niema Ash, published a book which contained intimate details of their friendship. McKennitt argued that much of the book contained confidential personal information, which Ash had no right to publish. The English courts found that there had indeed been a breach of confidence and a misuse of McKennitt's private information, and the case is likely to set important precedents in English law on the privacy of celebrities.[6] The House of Lords affirmed the lower court's decisions in 2007.[7]
[edit] 2006 and since
In September 2006, McKennitt performed live at the Alhambra. The performance premiered on PBS and in August 2007 was released on a three-disc DVD/CD set entitled Nights from the Alhambra.
In 2008, McKennitt composed the song entitled To The Fairies They Draw Near as the theme song for Disney's direct to video animated film Tinker Bell. The film makers were so impressed with her, that they asked her to do the narration for the film.[8]
In the Spring of that same year, she returned to Peter Gabriel's Real World Studios to record A Midwinter Night’s Dream, an extended version of A Winter Garden (1995). The album was released on October 28.[9]
Since the release of An Ancient Muse Loreena has toured consistently, with a European and North American tour in the Spring of 2007, an extensive cross Canada and United States tour in the fall of 2007, a summer tour of Europe in 2008 and a Mediterranean tour in the summer of 2009, with stops in Greece (concerts were postponed, but finally held in late June)[10], Turkey, Cyprus, Lebanon, Hungary and Italy.
[edit] Documentaries
McKennitt created No Journey's End, a half-hour documentary, for American television. In it, she discusses the influences behind her music. No Journey's End contains excerpts from several songs from the albums Parallel Dreams, The Visit, and The Mask and Mirror. It also shows live performances of the songs "The Lady of Shalott", "Santiago", and "The Dark Night of the Soul". It was later released as both a DVD and VHS, the former also containing music videos for "The Mummers' Dance" and "The Bonny Swans". A bonus copy of the DVD was included with the 2004 remastered versions of McKennitt's CDs.
In 2008, Loreena released A Moveable Musical Feast, a unique souvenir of Loreena McKennitt’s 2007 An Ancient Muse tour with a rare backstage look. The DVD includes interviews with Loreena, her band, crew, fans and professional colleagues from the Canadian music industry. Loreena and her fellow travellers describe their stories of how her show ‘goes up’, discuss the joys and challenges of their nomadic life when ‘on the road’ and share their thoughts on the creative relationships they have with each other, the music and the audience.
Honors
* Juno Award, Best Roots/Traditional Album 1992, for The Visit.
* Juno Award, Best Roots/Traditional Album 1994, for The Mask and Mirror.
* Billboard International Achievement Award, 1997.
* Headline performer for HRH Queen Elizabeth II and Prince Philip at The Golden Jubilee Celebrations, Province of Manitoba, 2002.
* Honorary Doctor of Letters, Wilfrid Laurier University, 2002.
* Member of the Order of Manitoba, July 2003.
* Member of the Order of Canada, July 2004.
* Honorary Doctor of Laws, University of Manitoba, June 2005
* Canadian Ambassador, Hans Christian Andersen Bicentennary, June 2005
* Honorary Doctor of Laws, Queen's University, October 2005
* Investiture as Honorary Colonel, 435 Squadron, Canadian Air Force, December 2006
* Nominated for a Grammy award, Best Contemporary World Music Album, in 2007
[edit] Genre and work
McKennitt's music has generally been classified as World / Celtic music even though it contains aspects and characteristics of music from around the globe and is sometimes classified as Folk music in record stores.
Before McKennitt composes any music, she engages in considerable research on a specific subject which then forms the general concept of the album. Before creating Elemental and Parallel Dreams, she traveled to Ireland for inspiration from the country's history, folklore, geography and culture. The album The Mask and Mirror was preceded by research in Spain where she engaged in studying Galicia, a Celtic section of Spain, along with its abundant Arabic roots. The result was an album including elements of Celtic and Arabic music. According to the notes of her latest album, An Ancient Muse was inspired primarily by travels among and reading about the various cultures along the Silk Road.
McKennitt is compared to Enya, but McKennitt's music is more grounded in traditional and classical invocations, using literary works as sources of lyrics and springboards for interpretation such as "The Lady of Shalott" by Lord Tennyson, "Prospero's Speech" (the final soliloquy in William Shakespeare's The Tempest), "Snow" by Archibald Lampman, "Dark Night of the Soul" by St. John of the Cross, William Blake's "Lullaby", Yeats' "The Stolen Child", and "The Highwayman" by Alfred Noyes.
[edit] Court case
Main article: McKennitt v Ash
In 2005, McKennitt was involved in an acrimonious court case in England when her former friend and employee, Niema Ash, published a book which contained intimate details of their friendship. McKennitt argued that much of the book contained confidential personal information, which Ash had no right to publish. The English courts found that there had indeed been a breach of confidence and a misuse of McKennitt's private information, and the case is likely to set important precedents in English law on the privacy of celebrities.[6] The House of Lords affirmed the lower court's decisions in 2007.[7]
[edit] 2006 and since
In September 2006, McKennitt performed live at the Alhambra. The performance premiered on PBS and in August 2007 was released on a three-disc DVD/CD set entitled Nights from the Alhambra.
In 2008, McKennitt composed the song entitled To The Fairies They Draw Near as the theme song for Disney's direct to video animated film Tinker Bell. The film makers were so impressed with her, that they asked her to do the narration for the film.[8]
In the Spring of that same year, she returned to Peter Gabriel's Real World Studios to record A Midwinter Night’s Dream, an extended version of A Winter Garden (1995). The album was released on October 28.[9]
Since the release of An Ancient Muse Loreena has toured consistently, with a European and North American tour in the Spring of 2007, an extensive cross Canada and United States tour in the fall of 2007, a summer tour of Europe in 2008 and a Mediterranean tour in the summer of 2009, with stops in Greece (concerts were postponed, but finally held in late June)[10], Turkey, Cyprus, Lebanon, Hungary and Italy.
[edit] Documentaries
McKennitt created No Journey's End, a half-hour documentary, for American television. In it, she discusses the influences behind her music. No Journey's End contains excerpts from several songs from the albums Parallel Dreams, The Visit, and The Mask and Mirror. It also shows live performances of the songs "The Lady of Shalott", "Santiago", and "The Dark Night of the Soul". It was later released as both a DVD and VHS, the former also containing music videos for "The Mummers' Dance" and "The Bonny Swans". A bonus copy of the DVD was included with the 2004 remastered versions of McKennitt's CDs.
In 2008, Loreena released A Moveable Musical Feast, a unique souvenir of Loreena McKennitt’s 2007 An Ancient Muse tour with a rare backstage look. The DVD includes interviews with Loreena, her band, crew, fans and professional colleagues from the Canadian music industry. Loreena and her fellow travellers describe their stories of how her show ‘goes up’, discuss the joys and challenges of their nomadic life when ‘on the road’ and share their thoughts on the creative relationships they have with each other, the music and the audience.
Music Review: Various Artists – It Ain’t Over! 55 Years of Blues
It Ain’t Over! 55 Years of Blues is the latest compilation from Delmark Records, Chicago’s pre-eminent blues and jazz records label. Delmark is owned by Bob Koester, who’s the founder and the man still at the helm, steering the course of his creation through thick and thin, good times and bad.
It Ain’t Over! is a just under 64-minute collection of 11 great blues songs by some of the cream of Delmark’s crop that have been issued over the years. Delmark began an increased recruitment of blues musicians in 1965, shortly after releasing “Junior Wells now classic Hoodoo Man Blues, a full-bore blast of modern urban juke joint revelry at its most potent [from liner notes].” Since then, Bob hasn’t messed with success. He’s kept that legacy alive in as many of Delmark’s recordings as possible. Why change a winning recipe? It Ain’t Over! was recorded live March 7, 2008, at Buddy Guy’s Legends in Chicago, which is why you’ll see some of the same players moving in and out of the lineup throughout, including Bob Stroger on bass; Kenny Smith, son of legendary drummer Willie ‘Big Eyes’ Smith, on drums, natch; Roosevelt ‘The Mad Hatter’ Purifoy on keys; and Lurrie Bell on guitar. Is that the first string of current Chicago Blues royalty, or what?
On this CD, Bob features eight different artists from his stable giving their best on juke joint style blues – barebones, stripped down, just enough musicians to get the sound you want and like. Zora Young kicks off this album with “Til the Fat Lady Sings,” a rousing seven-minute-plus number, the longest on the disc, with backing by – drum roll! – Lurrie Bell and Scott Cable on guitar, and Purifoy, Stroger and Smith. With a powerhouse blues belter like Zora Young, you need some cruiser-weight heavies to stand up to her punches, and they’re here, tall and strong.
This booming kickoff is followed by a sad, tear-jerking “Low Low Down,” by Jimmy Johnson. When he sings of the “ice around my heart,” you can feel it. That emotion follows throughout the entire 5:37 of this ballad.
Johnson goes straight into the next cut, an up-tempo “You Don’t Know What Love Is.” Whereas both are about love, “Low Low Down” is sung by a man who’s down in the dumps, “You Don’t Know” is by a man in the throes of good love.
Aaron Moore gives us a lesson about “Wading in Deep Water,” backed by himself on barrelhouse piano, and Smith on drums.
Little Arthur Duncan tells us about “Pretty Girls Everywhere,” which, in addition to Duncan’s instantly recognizable voice and harmonica, has some stellar guitar work by Nick Moss, helped out by Rick Kreher, Stroger and Smith.
Then Lurrie Bell sings the lead on “Don’t You Like to Me,” backed by Purifoy, Stroger and Smith. Shirley Johnson, another blues belter, sings about “As the Years Go By, with Bell, Pruifoy, Stroger and Smith. Eddie Shaw gives us “for You My Love, backed by Bell, Purifoy, Stroger and Smith. Shaw does double duty, singing “Sun Is Shining,” too. In a small talk between the two, Shaw rouses the crowd to give a hand to his 40-year friend Koester, calling him “a thoroughbred.”
Tail Dragger comes in as the clean-up pitcher for the last two songs, “Tend to Your Business,” and “My Woman Is Gone.” On “Business,” Tail Dragger’s vocals are complemented by Big D on harmonica, Kevin Shanahan on guitar, and Stroger and Smith. The night’s final selection is backed by Billy Branch on harmonica, Bell, Shanahan, Stroger and Smith.
Unless you’re a Chicago Blues fan, you may not recognize some of these names. That’s your loss, for sure. Google these musicians and you’ll see a veritable Who’s Who of blues stars mentioned with their names, including the Mister Chicago Blues himself, Muddy Waters, and one of the reigning royalty of Chicago Blues, Hubert Sumlin.
It Ain’t Over! is a just under 64-minute collection of 11 great blues songs by some of the cream of Delmark’s crop that have been issued over the years. Delmark began an increased recruitment of blues musicians in 1965, shortly after releasing “Junior Wells now classic Hoodoo Man Blues, a full-bore blast of modern urban juke joint revelry at its most potent [from liner notes].” Since then, Bob hasn’t messed with success. He’s kept that legacy alive in as many of Delmark’s recordings as possible. Why change a winning recipe? It Ain’t Over! was recorded live March 7, 2008, at Buddy Guy’s Legends in Chicago, which is why you’ll see some of the same players moving in and out of the lineup throughout, including Bob Stroger on bass; Kenny Smith, son of legendary drummer Willie ‘Big Eyes’ Smith, on drums, natch; Roosevelt ‘The Mad Hatter’ Purifoy on keys; and Lurrie Bell on guitar. Is that the first string of current Chicago Blues royalty, or what?
On this CD, Bob features eight different artists from his stable giving their best on juke joint style blues – barebones, stripped down, just enough musicians to get the sound you want and like. Zora Young kicks off this album with “Til the Fat Lady Sings,” a rousing seven-minute-plus number, the longest on the disc, with backing by – drum roll! – Lurrie Bell and Scott Cable on guitar, and Purifoy, Stroger and Smith. With a powerhouse blues belter like Zora Young, you need some cruiser-weight heavies to stand up to her punches, and they’re here, tall and strong.
This booming kickoff is followed by a sad, tear-jerking “Low Low Down,” by Jimmy Johnson. When he sings of the “ice around my heart,” you can feel it. That emotion follows throughout the entire 5:37 of this ballad.
Johnson goes straight into the next cut, an up-tempo “You Don’t Know What Love Is.” Whereas both are about love, “Low Low Down” is sung by a man who’s down in the dumps, “You Don’t Know” is by a man in the throes of good love.
Aaron Moore gives us a lesson about “Wading in Deep Water,” backed by himself on barrelhouse piano, and Smith on drums.
Little Arthur Duncan tells us about “Pretty Girls Everywhere,” which, in addition to Duncan’s instantly recognizable voice and harmonica, has some stellar guitar work by Nick Moss, helped out by Rick Kreher, Stroger and Smith.
Then Lurrie Bell sings the lead on “Don’t You Like to Me,” backed by Purifoy, Stroger and Smith. Shirley Johnson, another blues belter, sings about “As the Years Go By, with Bell, Pruifoy, Stroger and Smith. Eddie Shaw gives us “for You My Love, backed by Bell, Purifoy, Stroger and Smith. Shaw does double duty, singing “Sun Is Shining,” too. In a small talk between the two, Shaw rouses the crowd to give a hand to his 40-year friend Koester, calling him “a thoroughbred.”
Tail Dragger comes in as the clean-up pitcher for the last two songs, “Tend to Your Business,” and “My Woman Is Gone.” On “Business,” Tail Dragger’s vocals are complemented by Big D on harmonica, Kevin Shanahan on guitar, and Stroger and Smith. The night’s final selection is backed by Billy Branch on harmonica, Bell, Shanahan, Stroger and Smith.
Unless you’re a Chicago Blues fan, you may not recognize some of these names. That’s your loss, for sure. Google these musicians and you’ll see a veritable Who’s Who of blues stars mentioned with their names, including the Mister Chicago Blues himself, Muddy Waters, and one of the reigning royalty of Chicago Blues, Hubert Sumlin.
The Friday Morning Listen: Bruce Springsteen - Darkness on the Edge of Town
I wanted to talk about the accident, and how looking back on it (even from such a short distance), it feels like it has formed some closure to the events of the past year or so. But my head needs more time to allow those thoughts to organize themselves. That's kind of how I think about writing. When I write something that I'm particularly happy with, it feels like the set of ideas had as much to do with the outcome as my own orchestrations. It feels somewhat magical and almost effortless.
So in the interest of expending less effort (the right arm is in a new cast and is not yet pain-free...partly because I stopped taking that zombifying oxycodone), let's push that set of thoughts aside and let 'em be for now. They seem pretty eager so it's a safe bet that they'll be back soon.
This weekend there is another event that will provide some closure of sorts, and that is the Boston-area Bruce Springsteen appearance. Yeah, yeah, I've ranted about these shows plenty of times before, but this one is different: I'll be taking Pete (Stepson #2) with me. Pete has heard my rants for years but has never been to a show. There were a couple of opportunities in the past, but Pete's E Street karma has never been in his favor. That all changes on Sunday night. The Working On A Dream tour came roaring back to life a couple of nights ago and I have high hopes for the weekend.
I bring up the idea of closure in this context because Bruce lives in that small group of artists that have resonated so greatly with me as to make them feel like family. It will be great to have Pete finally experience a show because he needs to meet the rest of the family — Bruce as well as the 20,000-something cousins he never knew he had.
Bruce has been featuring "Badlands" early in set on this tour. When he sings "That it ain't no sin to be glad you're alive," I will nod at that pure bit of truth. I will also revel in the pure joy of the closing of the family circle via some undiluted E Street karma. C'mon Bruce, bring it!
So in the interest of expending less effort (the right arm is in a new cast and is not yet pain-free...partly because I stopped taking that zombifying oxycodone), let's push that set of thoughts aside and let 'em be for now. They seem pretty eager so it's a safe bet that they'll be back soon.
This weekend there is another event that will provide some closure of sorts, and that is the Boston-area Bruce Springsteen appearance. Yeah, yeah, I've ranted about these shows plenty of times before, but this one is different: I'll be taking Pete (Stepson #2) with me. Pete has heard my rants for years but has never been to a show. There were a couple of opportunities in the past, but Pete's E Street karma has never been in his favor. That all changes on Sunday night. The Working On A Dream tour came roaring back to life a couple of nights ago and I have high hopes for the weekend.
I bring up the idea of closure in this context because Bruce lives in that small group of artists that have resonated so greatly with me as to make them feel like family. It will be great to have Pete finally experience a show because he needs to meet the rest of the family — Bruce as well as the 20,000-something cousins he never knew he had.
Bruce has been featuring "Badlands" early in set on this tour. When he sings "That it ain't no sin to be glad you're alive," I will nod at that pure bit of truth. I will also revel in the pure joy of the closing of the family circle via some undiluted E Street karma. C'mon Bruce, bring it!
Verse Chorus Verse: Nirvana - "Sappy"
The first time I heard "Verse Chorus Verse" was in October 1994. Kurt Cobain had died only five months before and I was mere miles from where his life ended. I had just completed a harrowing cross-country trip from Alabama to Seattle, where I intended to strike it on my own. I had graduated two years early and by this point had completed exactly two semesters of community college. Life was going nowhere. I wanted to return to Seattle and to my friends, so I packed my Brown 1978 Toyota Corolla with all my earthly possessions and drove west.
Along the way, my water pump blew. The first of my travelers' checks were depleted. In the process of getting my water pump fixed, the mechanic disconnected a wire connecting my alternator. I spent the night in a motel in Wamsutter, Wyoming, all alone and fast going broke. Somehow I babied my aging, ailing car just into Idaho where a mechanic took pity on me and reconnected the wire without charging me a dime.
It's been 15 years since that trip. I feel like I was practically a 19th Century pioneer traveling the Oregon Trail looking back on it now. Cell phones existed, but they had yet to become a mainstay of every day existence. I had to find pay phones to call my family collect. They did their best to help me from the distance, but I was isolated, scared, and alone.
What should have been a four-day trip took six. When I finally arrived in Seattle, I called the friend I'd be staying with. I followed her to her storage shed and scanned the radio dial for a new music station and found 107.7 KNDD and what I heard was the unmistakable voice of Kurt Cobain playing a song I'd never heard! Talk about the Seattle experience! I listened to the end when the DJ said, "That was Nirvana with 'Verse Chorus Verse.'
Along the way, my water pump blew. The first of my travelers' checks were depleted. In the process of getting my water pump fixed, the mechanic disconnected a wire connecting my alternator. I spent the night in a motel in Wamsutter, Wyoming, all alone and fast going broke. Somehow I babied my aging, ailing car just into Idaho where a mechanic took pity on me and reconnected the wire without charging me a dime.
It's been 15 years since that trip. I feel like I was practically a 19th Century pioneer traveling the Oregon Trail looking back on it now. Cell phones existed, but they had yet to become a mainstay of every day existence. I had to find pay phones to call my family collect. They did their best to help me from the distance, but I was isolated, scared, and alone.
What should have been a four-day trip took six. When I finally arrived in Seattle, I called the friend I'd be staying with. I followed her to her storage shed and scanned the radio dial for a new music station and found 107.7 KNDD and what I heard was the unmistakable voice of Kurt Cobain playing a song I'd never heard! Talk about the Seattle experience! I listened to the end when the DJ said, "That was Nirvana with 'Verse Chorus Verse.'
The Rockologist: My Days At Def American
I can remember it like it was yesterday.
There was me and my two pals sitting on the front porch of my house in Seattle in 1992. Bruce Springsteen had just released two new records — Human Touch and Lucky Town — and we were listening to them on the porch that hot spring afternoon over a few beers. The three of us agreed that neither of them were very good, even though we were hardcore fans.
Then the phone call came.
The CD player was shut off, and I told my two friends Greg and Brett to get lost for a minute while I took the call that was about to change my life. Because the guy on the other end of the line was Rick Rubin, and he was about to offer me a job with his label, Def American Recordings. I'll never forget that phone call for as long as I live.
Six months earlier, I had been unceremoniously fired from my position as National Retail Promotions Director for Nastymix Records, a Seattle based independent record label where I had, with considerable pride, helped build the career of Seattle rapper Sir Mix-A-Lot from the ground up, particularly with the independent retail record stores that paved the way for Mix's eventual mainstream success.
Things had been really great there for about three years — it was a dizzying ride with platinum album sales and the like — but they had since gone terribly wrong. But that's another story, left for another article that one day I hope to grow the balls to write.
Anyway, back to Rick's phone call. Rick Rubin was about to offer me a job.
Two weeks earlier, I had been flown to Los Angeles to meet with the man who was in many ways an idol of mine. We had met briefly once before, in 1986, when he was the Beastie Boys' "DJ Double R," and they were the opening act for Madonna.
At that time, I was assigned to interview the Beastie Boys for Seattle's Rocket Magazine, and they had just been booed off the stage at Seattle's Paramount Theatre — it must have been something about that whole "Kings of the Paramount" thing that rubbed the Seattle crowd the wrong way. I should add that this was roughly six months before the Beasties changed everything about music with the Rick Rubin produced album Licensed To Ill.
There was me and my two pals sitting on the front porch of my house in Seattle in 1992. Bruce Springsteen had just released two new records — Human Touch and Lucky Town — and we were listening to them on the porch that hot spring afternoon over a few beers. The three of us agreed that neither of them were very good, even though we were hardcore fans.
Then the phone call came.
The CD player was shut off, and I told my two friends Greg and Brett to get lost for a minute while I took the call that was about to change my life. Because the guy on the other end of the line was Rick Rubin, and he was about to offer me a job with his label, Def American Recordings. I'll never forget that phone call for as long as I live.
Six months earlier, I had been unceremoniously fired from my position as National Retail Promotions Director for Nastymix Records, a Seattle based independent record label where I had, with considerable pride, helped build the career of Seattle rapper Sir Mix-A-Lot from the ground up, particularly with the independent retail record stores that paved the way for Mix's eventual mainstream success.
Things had been really great there for about three years — it was a dizzying ride with platinum album sales and the like — but they had since gone terribly wrong. But that's another story, left for another article that one day I hope to grow the balls to write.
Anyway, back to Rick's phone call. Rick Rubin was about to offer me a job.
Two weeks earlier, I had been flown to Los Angeles to meet with the man who was in many ways an idol of mine. We had met briefly once before, in 1986, when he was the Beastie Boys' "DJ Double R," and they were the opening act for Madonna.
At that time, I was assigned to interview the Beastie Boys for Seattle's Rocket Magazine, and they had just been booed off the stage at Seattle's Paramount Theatre — it must have been something about that whole "Kings of the Paramount" thing that rubbed the Seattle crowd the wrong way. I should add that this was roughly six months before the Beasties changed everything about music with the Rick Rubin produced album Licensed To Ill.
Interview: Will Downing - "The Prince of Sophisticated Soul"
There are many labels that have been attached to Will Downing over the course of his long, storied career: singer, songwriter, producer and, for good measure, "The Prince of Sophisticated Soul." Such titles fail to give any insight, however, on the fact that Downing—above all else—is a fighter, in every sense of the word.
Since the tail-end of 2006, Will Downing successfully fought—and recovered from—Polymyositis, a devastating muscle disorder, which left him bound to a wheelchair and threatened to end his award-winning musical career. And in the wake of overcoming his personal struggle, on a professional level, Downing has been waged in an uphill battle to keep the banner of "sophisticated soul" alive and well.
Upon the release of Classique, Will Downing managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry — reflecting on Luther Vandross, European success, and the power of a ballad.
For many years, you have been affectionately dubbed as "The Prince of Sophisticated Soul." At what point did you first become aware of this title, and what are thoughts about it, in general?
Well, it’s weird. Someone put that on me. I was doing a radio interview at a college station. The guy who was interviewing me said it, and of course I kind of laughed and asked what made him say that. He said, "I think you’re one of the last few guys standing that represent this particular style of music." But then I asked: "Why couldn’t I be king?" His response: "Luther [Vandross] is the king." I thoroughly understood that. So at this point, I am kind of the heir to one of the greatest styles of music that has ever existed. It’s an honor.
It could be argued that you’re equally popular – if not more popular – in the United Kingdom. When did you first realize your European success and your transition into an international superstar?
For me, it was very easy. The first record of the first recording in 1988, the European market and the English market gravitated towards the record a lot more so than the American market, so I ended up selling gold over there. I think we just sold a very limited amount of copies in America. Instantaneously, booking agents and promoters were calling and I found myself over there quite a bit. The relationship I had with the European market started extremely early in my career.
Since the tail-end of 2006, Will Downing successfully fought—and recovered from—Polymyositis, a devastating muscle disorder, which left him bound to a wheelchair and threatened to end his award-winning musical career. And in the wake of overcoming his personal struggle, on a professional level, Downing has been waged in an uphill battle to keep the banner of "sophisticated soul" alive and well.
Upon the release of Classique, Will Downing managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry — reflecting on Luther Vandross, European success, and the power of a ballad.
For many years, you have been affectionately dubbed as "The Prince of Sophisticated Soul." At what point did you first become aware of this title, and what are thoughts about it, in general?
Well, it’s weird. Someone put that on me. I was doing a radio interview at a college station. The guy who was interviewing me said it, and of course I kind of laughed and asked what made him say that. He said, "I think you’re one of the last few guys standing that represent this particular style of music." But then I asked: "Why couldn’t I be king?" His response: "Luther [Vandross] is the king." I thoroughly understood that. So at this point, I am kind of the heir to one of the greatest styles of music that has ever existed. It’s an honor.
It could be argued that you’re equally popular – if not more popular – in the United Kingdom. When did you first realize your European success and your transition into an international superstar?
For me, it was very easy. The first record of the first recording in 1988, the European market and the English market gravitated towards the record a lot more so than the American market, so I ended up selling gold over there. I think we just sold a very limited amount of copies in America. Instantaneously, booking agents and promoters were calling and I found myself over there quite a bit. The relationship I had with the European market started extremely early in my career.
Willy DeVille: Rest In Peace
At about 11:30 on the night of August 6, 2009 we lost one of the great voices of American music. At the age of 59, Willy DeVille has succumbed to pancreatic cancer. His death came as a shock to those who loved him and his music, for his diagnosis came only shortly before his death. Earlier this year Willy had informed his fans that he would be having to take some time off from performing and recording as he was having to undergo treatment for hepatitis C, but in May of 2009 the doctors discovered that he had stage IV pancreatic cancer.
Born on August 25, 1950 as William Borsey, he changed his to name to DeVille with the formation of the band that propelled him to international renown — The Mink DeVille Band. When asked about the genesis of the band's name in an interview Willy replied that the band had been sitting around talking of names when one of the guys said, "How about Mink DeVille? There can't be anything cooler than a fur-lined Cadillac, can there?"
While the band was put together in San Francisco, it was in New York they caught fire. In 1975 CBGB was one of the few clubs hiring live rock and roll bands so along with hundreds of others, Willy and the band auditioned and the roller coaster began.
While most of us associate CBGB with the early days of punk rock — the Ramones, Television, Talking Heads, and Blondie — Mink DeVille were playing the type of music that Willy had first fallen in love with as a kid listening to the radio around the breakfast table — the rock and roll and R&B of the early '60s that was big on American Bandstand. Willy described listening to bands like the Drifters as being a magical experience and how the drama of it would hypnotize him..
No matter that they were formed in San Francisco, you'd never think of Mink DeVille as anything but a New York City band. The Latin beats came from the lower East Side and their cool was that of the street. While everybody else was in ripped t-shirts and jeans, Willy was even then developing the elegance and grace that would become the hallmarks of his stage presence throughout his career. It was one of those happy accidents that can only be put down to destiny that he and Jack Nietzsche were brought together for his first album with Capital records. It was Jack who had been involved with so much of the music that Willy had loved as a kid. Cabretta, released in 1977, was the first indication of the unique talents hidden within Willy as it showed him equally comfortable singing R&B, Latin, rock, and blues. Nobody before or since Willy has been able to blend the diverse elements of American popular music into one sound with such authenticity, soul, and passion.
Born on August 25, 1950 as William Borsey, he changed his to name to DeVille with the formation of the band that propelled him to international renown — The Mink DeVille Band. When asked about the genesis of the band's name in an interview Willy replied that the band had been sitting around talking of names when one of the guys said, "How about Mink DeVille? There can't be anything cooler than a fur-lined Cadillac, can there?"
While the band was put together in San Francisco, it was in New York they caught fire. In 1975 CBGB was one of the few clubs hiring live rock and roll bands so along with hundreds of others, Willy and the band auditioned and the roller coaster began.
While most of us associate CBGB with the early days of punk rock — the Ramones, Television, Talking Heads, and Blondie — Mink DeVille were playing the type of music that Willy had first fallen in love with as a kid listening to the radio around the breakfast table — the rock and roll and R&B of the early '60s that was big on American Bandstand. Willy described listening to bands like the Drifters as being a magical experience and how the drama of it would hypnotize him..
No matter that they were formed in San Francisco, you'd never think of Mink DeVille as anything but a New York City band. The Latin beats came from the lower East Side and their cool was that of the street. While everybody else was in ripped t-shirts and jeans, Willy was even then developing the elegance and grace that would become the hallmarks of his stage presence throughout his career. It was one of those happy accidents that can only be put down to destiny that he and Jack Nietzsche were brought together for his first album with Capital records. It was Jack who had been involved with so much of the music that Willy had loved as a kid. Cabretta, released in 1977, was the first indication of the unique talents hidden within Willy as it showed him equally comfortable singing R&B, Latin, rock, and blues. Nobody before or since Willy has been able to blend the diverse elements of American popular music into one sound with such authenticity, soul, and passion.
Music Review: New York Dolls - 'Cause I Sez So
The legendary New York Dolls have returned with a new studio album. They were one of the original glam rock bands whose visuals were just as important as their music. Their original career may have been short, 1971-1976, but their influence was felt by such groups as Kiss, Blondie, Motley Crue, Guns N’ Roses, and many more.
In 2004 the group reformed around two original members, guitarist Syl Sylvain and singer David Johansen. They released the album One Day It Will Please Us To Remember Even This to critical acclaim and they have since become regulars on the concert circuit.
Other members of the present day incarnation include guitarist Steve Conte, bassist Sami Yaffa, drummer Brian Delaney, and keyboard player Brian Koonin. The musicianship of this line-up is superior to the classic '70s group which had a raw and at times primitive sound which was a good thing as it formed an important part of their appeal.
‘Cause I Sez So is an album of straight ahead rock ‘n’ roll. While the energy level is high in places, the music is more melodic than in the past and at times is even mellow.
The title track blasts the album out of the gate. The dual guitar attack of Conte and Sylvain drive the sound as Johansen rails against a society that George Orwell envisioned. It quickly proves that The Dolls have not lost their edge. “Muddy Bones,” co-written by new bassist Yaffi and Johansen, continues the rant with the post George Bush apocalyptic society as the target.
Things slow down a bit after the first two tracks. “Better Than You” is a mid-tempo ballad that could have been recorded in the early seventies. “Making Rain” has an acoustic foundation and is both desolate and beautiful at the same time.
The only real miss is a re-make of the 1973 classic “Trash.” Whatever prompted them to take this song in a reggae direction is beyond me.
‘Cause I Sez So should please any fan of the group. The New York Dolls of the seventies are long gone so this version will have to do and this album proves they are doing just fine.
In 2004 the group reformed around two original members, guitarist Syl Sylvain and singer David Johansen. They released the album One Day It Will Please Us To Remember Even This to critical acclaim and they have since become regulars on the concert circuit.
Other members of the present day incarnation include guitarist Steve Conte, bassist Sami Yaffa, drummer Brian Delaney, and keyboard player Brian Koonin. The musicianship of this line-up is superior to the classic '70s group which had a raw and at times primitive sound which was a good thing as it formed an important part of their appeal.
‘Cause I Sez So is an album of straight ahead rock ‘n’ roll. While the energy level is high in places, the music is more melodic than in the past and at times is even mellow.
The title track blasts the album out of the gate. The dual guitar attack of Conte and Sylvain drive the sound as Johansen rails against a society that George Orwell envisioned. It quickly proves that The Dolls have not lost their edge. “Muddy Bones,” co-written by new bassist Yaffi and Johansen, continues the rant with the post George Bush apocalyptic society as the target.
Things slow down a bit after the first two tracks. “Better Than You” is a mid-tempo ballad that could have been recorded in the early seventies. “Making Rain” has an acoustic foundation and is both desolate and beautiful at the same time.
The only real miss is a re-make of the 1973 classic “Trash.” Whatever prompted them to take this song in a reggae direction is beyond me.
‘Cause I Sez So should please any fan of the group. The New York Dolls of the seventies are long gone so this version will have to do and this album proves they are doing just fine.
Andrew Green - Narrow Margin
Drawing its inspiration from a 1952 film noir, Andrew Green’s Narrow Margin is a deep, creative work infused with delicious dread and danger.
Green, the author of three popular books on jazz guitar, leads a band of characters worthy of some of the most sensual, dark noir. Along with Green’s guitar, Narrow Margin features Bill McHenry on tenor sax, JC Sanford on trombone, Russ Johnson on trumpet, John Hebert on bass, and Mark Ferber on drums. Benny Cha Cha guests on Wurlitzer piano for one piece.
Green’s record jumps like a film score, complete with car chases and love scenes to smolder up the stereo speakers. His compositions are brave and exciting, offering a sense of style and variety that the composer and guitarist credits to his early love for the Beatles. “Given the anything-and-three kitchen-sinks approach to some of the Beatles’ tunes, it imprinted a love of diversity on my young mind that not even twenty years of playing bebop could stifle,” he says.
Interestingly, the origins for Narrow Margin came when Green had sprained his left wrist and couldn’t play guitar for ten weeks. He spent his “forced hiatus” watching '40s and '50s film noir and eventually the mood and tone of the movies sunk in.
The result of the noir infusion is a set of eight pieces arranged with a sense of consistency and harmony in mind. Like fresh rain on dark pavement, Green’s compositions linger with thought and fragrance.
Starting with “.45 Auto,” Green sets the stage for some remarkably cool solos. Johnson and McHenry go to work first, drilling out heated and passionate segments. Hebert’s fills hammer like bullets cutting through the night’s thick air.
Green shares the credit with the legendary Bernard Herrmann on “Narrow Margin/Taxi Driver,” a piece that utilizes the theme from the 1976 Scorsese classic as an underpinning to his own theme of sorts. The cautious introduction sounds like a prison break set to chilling percussion and distant bleats of sax.
Green, who has worked with the likes of Donald Byrd and John McNeil, even manages to slide in a tribute to Joe Henderson (“Totally Joe”) that makes the most out of the members’ various solos.
Narrow Margin is a cool, slick record. Green’s compositions are elegantly balanced to give equal time and cadence to improv and sweetly arranged passages.
Green, the author of three popular books on jazz guitar, leads a band of characters worthy of some of the most sensual, dark noir. Along with Green’s guitar, Narrow Margin features Bill McHenry on tenor sax, JC Sanford on trombone, Russ Johnson on trumpet, John Hebert on bass, and Mark Ferber on drums. Benny Cha Cha guests on Wurlitzer piano for one piece.
Green’s record jumps like a film score, complete with car chases and love scenes to smolder up the stereo speakers. His compositions are brave and exciting, offering a sense of style and variety that the composer and guitarist credits to his early love for the Beatles. “Given the anything-and-three kitchen-sinks approach to some of the Beatles’ tunes, it imprinted a love of diversity on my young mind that not even twenty years of playing bebop could stifle,” he says.
Interestingly, the origins for Narrow Margin came when Green had sprained his left wrist and couldn’t play guitar for ten weeks. He spent his “forced hiatus” watching '40s and '50s film noir and eventually the mood and tone of the movies sunk in.
The result of the noir infusion is a set of eight pieces arranged with a sense of consistency and harmony in mind. Like fresh rain on dark pavement, Green’s compositions linger with thought and fragrance.
Starting with “.45 Auto,” Green sets the stage for some remarkably cool solos. Johnson and McHenry go to work first, drilling out heated and passionate segments. Hebert’s fills hammer like bullets cutting through the night’s thick air.
Green shares the credit with the legendary Bernard Herrmann on “Narrow Margin/Taxi Driver,” a piece that utilizes the theme from the 1976 Scorsese classic as an underpinning to his own theme of sorts. The cautious introduction sounds like a prison break set to chilling percussion and distant bleats of sax.
Green, who has worked with the likes of Donald Byrd and John McNeil, even manages to slide in a tribute to Joe Henderson (“Totally Joe”) that makes the most out of the members’ various solos.
Narrow Margin is a cool, slick record. Green’s compositions are elegantly balanced to give equal time and cadence to improv and sweetly arranged passages.
Watermelon Slim, Joe Pernice, Al Green, Fruit Bats, Miles Davis & Modest Mouse
Welcome my friends to the show that never ends. I got to thinking this morning that New Album Releases is like the 1 in a 1-2 punch with the iTunes Chart Watch. The N.A.R. column is where I tell you what to buy (or what not to buy) and the iTunes Chart Watch is the scorecard wherein you, the music purchasing public, reveal what you did buy. It's all like Festivus. We have our airing of grievances and list all the ways we've disappointed one another. I pour my soul out to you, begging you to buy good music and you disappoint me by buying something else. That I can do this week in and week out is like my own personal feat of strength. I'm putting up a Festivus pole in my office. I'll leave it up year round and think of you all often.
Watermelon Slim
Escape From The Chicken Coop
Told you about this one, I did, but let's talk about it again. Watermelon Slim is one of the most decorated bluesman of the 21st Century. It turns out he's also a decorated Vietnam War veteran, a member of MENSA, and those are just a couple of the more interesting biographical tidbits of the life of Bill Homans.
On Escape From The Chicken Coop, Slim is infusing his blues with a little bit more of a country sound. Coop was recorded in Nashville and produced by Delbert McClinton collaborator Gary Nicholson. The best songs on the record tend to be when he stays closer to his blues roots, but this is another solid effort from an American original.
Joe Pernice
It Feels So Good When I Stop
Joe Pernice occupies a special place in my heart and will for all time. I started a music section in our campus newspaper and a contact at Sub Pop records sent me three or four records for my consideration. One was Heather Duby's Post to Wire (which I love). Another was from a band called Chappaquiddick Skyline. In the press material, I learned CS was the brainchild of Scud Mountain Boy and Pernice Brother Joe Pernice. I didn't know either of those bands at the time, but I made a note to myself to give the disc a listen.
One rainy night while driving to meet up with TheGirlfriend (who is now TheWifeToWhomI'mMarried), I slid the disc into my stereo and the first words of the disc set in motion a relationship that has now lasted for more than 10 years: "I hate my life." I continued listening to that disc and over the years have collected every Scud Mtn. and Pernice Brothers record. I even imported Joe's 'solo' record Big Tobacco before it was domestically available, which brings us to his new 'solo' record, It Feels So Good When I Stop.
Watermelon Slim
Escape From The Chicken Coop
Told you about this one, I did, but let's talk about it again. Watermelon Slim is one of the most decorated bluesman of the 21st Century. It turns out he's also a decorated Vietnam War veteran, a member of MENSA, and those are just a couple of the more interesting biographical tidbits of the life of Bill Homans.
On Escape From The Chicken Coop, Slim is infusing his blues with a little bit more of a country sound. Coop was recorded in Nashville and produced by Delbert McClinton collaborator Gary Nicholson. The best songs on the record tend to be when he stays closer to his blues roots, but this is another solid effort from an American original.
Joe Pernice
It Feels So Good When I Stop
Joe Pernice occupies a special place in my heart and will for all time. I started a music section in our campus newspaper and a contact at Sub Pop records sent me three or four records for my consideration. One was Heather Duby's Post to Wire (which I love). Another was from a band called Chappaquiddick Skyline. In the press material, I learned CS was the brainchild of Scud Mountain Boy and Pernice Brother Joe Pernice. I didn't know either of those bands at the time, but I made a note to myself to give the disc a listen.
One rainy night while driving to meet up with TheGirlfriend (who is now TheWifeToWhomI'mMarried), I slid the disc into my stereo and the first words of the disc set in motion a relationship that has now lasted for more than 10 years: "I hate my life." I continued listening to that disc and over the years have collected every Scud Mtn. and Pernice Brothers record. I even imported Joe's 'solo' record Big Tobacco before it was domestically available, which brings us to his new 'solo' record, It Feels So Good When I Stop.
Retro Redux: Gene McDaniels And The BBC
There is an old adage that says that all publicity is good publicity. I'm not sure that it's always true in today's nutsy world, but there is one type of notoriety that will always boost interest in a book, a movie, or a song — being banned.
Born in Kansas City, Gene McDaniels grew up in Omaha, and certainly didn't start out like someone who would later have a banned song. In fact, his earliest singing was as part of the church choir, something he had in common with countless other performers through the years. After spending some time at the Omaha Conservatory of Music, McDaniels began his professional career in the 1950s, singing in front of his own musical group. By the end of the decade he'd managed to land a recording contract, and in 1961 he recorded the memorable "A Hundred Pounds Of Clay." (Clip)
The song, written by Luther Dixon, who also composed "Sixteen Candles" and the Shirelles' "Soldier Boy," became a big hit for McDaniels. Although it was good song, it was probably helped by BBC radio banning it because they felt it was disrespectful of women and even sacrilegious.
McDaniels went on to have several other good sellers over the next few years, including "A Tower Of Strength," "Point Of No Return," and "Another Tear Falls." (Video below.) In the latter part of the decade he began to lean away from pop and closer to traditional R&B, and by the 1970s was also beginning to find some success as a songwriter. His "Feel Like Making Love" was a huge hit for Roberta Flack in 1974.
In the decades since, Gene McDaniels has continued to write songs, and eventually added music producing to his skills. He's also spent some time in Hollywood, not only producing soundtracks but even writing a screenplay. Not a bad career for a guy whose first hit was banned by the BBC.
Born in Kansas City, Gene McDaniels grew up in Omaha, and certainly didn't start out like someone who would later have a banned song. In fact, his earliest singing was as part of the church choir, something he had in common with countless other performers through the years. After spending some time at the Omaha Conservatory of Music, McDaniels began his professional career in the 1950s, singing in front of his own musical group. By the end of the decade he'd managed to land a recording contract, and in 1961 he recorded the memorable "A Hundred Pounds Of Clay." (Clip)
The song, written by Luther Dixon, who also composed "Sixteen Candles" and the Shirelles' "Soldier Boy," became a big hit for McDaniels. Although it was good song, it was probably helped by BBC radio banning it because they felt it was disrespectful of women and even sacrilegious.
McDaniels went on to have several other good sellers over the next few years, including "A Tower Of Strength," "Point Of No Return," and "Another Tear Falls." (Video below.) In the latter part of the decade he began to lean away from pop and closer to traditional R&B, and by the 1970s was also beginning to find some success as a songwriter. His "Feel Like Making Love" was a huge hit for Roberta Flack in 1974.
In the decades since, Gene McDaniels has continued to write songs, and eventually added music producing to his skills. He's also spent some time in Hollywood, not only producing soundtracks but even writing a screenplay. Not a bad career for a guy whose first hit was banned by the BBC.
DVD Review: Edge of Existence
Irish investigative journalist Donal MacIntyre makes for an electrifying and probing guide on Edge of Existence, now available on DVD from Athena. The four-episode series, filmed in 2006, puts MacIntyre right in the fray as he lives with tribes and people from the some of the most remote locations in the world.
The endlessly enthralling series examines how human beings are able to exist in extreme environments, asking reflective cultural questions along the way sure to enlighten and rouse discussion with viewers.
Broadcast originally on Discovery Channel in 2007, Edge of Existence is a stunning program that offers visuals of parts of the world few have seen. MacIntyre, who seems legitimately open to any experience throughout the quartet of episodes, is an intelligent and articulate host and the perfect guide to these forgotten ways of life.
The first episode finds MacIntyre in Oman where rain falls about once a year and the devastating heat reaches 120 degrees Fahrenheit on a regular basis. The host and athlete, who once went undercover to expose abuses at eldercare facilities, winds up with the Al-Amri family at the edge of the Rub’ al Khali Desert and learns of their culture by participating in it. A highlight has MacIntyre accompanying two sons of the family on a long trek across the desert to trade dates for fish.
MacIntyre visits the Insect Tribe in the second episode. Living in the rainforest of Papua New Guinea, this polygamous tribe relies on hunting and fishing for food but the really lucrative business is that of crocodile hides. MacIntyre sets out with the tribesmen on a hunt for crocodile and the harrowing experience is enough to have him yearning for the comforts of home.
Bolivia, specifically the Altiplano region, sets the stage for the third episode. After witnessing a violent Tinku ritual, MacIntyre spends time with Wilfredo Mamami as he mines the world’s largest salt flat in the thin air. He then meets a family of Quechuan Indians and embarks on a llama-led slog to trade the valuable salt for corn and fruit. An interesting family dynamic develops as MacIntyre discovers Fidelia, the family’s oldest daughter, dreams of leaving the village.
The endlessly enthralling series examines how human beings are able to exist in extreme environments, asking reflective cultural questions along the way sure to enlighten and rouse discussion with viewers.
Broadcast originally on Discovery Channel in 2007, Edge of Existence is a stunning program that offers visuals of parts of the world few have seen. MacIntyre, who seems legitimately open to any experience throughout the quartet of episodes, is an intelligent and articulate host and the perfect guide to these forgotten ways of life.
The first episode finds MacIntyre in Oman where rain falls about once a year and the devastating heat reaches 120 degrees Fahrenheit on a regular basis. The host and athlete, who once went undercover to expose abuses at eldercare facilities, winds up with the Al-Amri family at the edge of the Rub’ al Khali Desert and learns of their culture by participating in it. A highlight has MacIntyre accompanying two sons of the family on a long trek across the desert to trade dates for fish.
MacIntyre visits the Insect Tribe in the second episode. Living in the rainforest of Papua New Guinea, this polygamous tribe relies on hunting and fishing for food but the really lucrative business is that of crocodile hides. MacIntyre sets out with the tribesmen on a hunt for crocodile and the harrowing experience is enough to have him yearning for the comforts of home.
Bolivia, specifically the Altiplano region, sets the stage for the third episode. After witnessing a violent Tinku ritual, MacIntyre spends time with Wilfredo Mamami as he mines the world’s largest salt flat in the thin air. He then meets a family of Quechuan Indians and embarks on a llama-led slog to trade the valuable salt for corn and fruit. An interesting family dynamic develops as MacIntyre discovers Fidelia, the family’s oldest daughter, dreams of leaving the village.
Watermelon Slim, Joe Pernice, Al Green, Fruit Bats, Miles Davis & Modest
Welcome my friends to the show that never ends. I got to thinking this morning that New Album Releases is like the 1 in a 1-2 punch with the iTunes Chart Watch. The N.A.R. column is where I tell you what to buy (or what not to buy) and the iTunes Chart Watch is the scorecard wherein you, the music purchasing public, reveal what you did buy. It's all like Festivus. We have our airing of grievances and list all the ways we've disappointed one another. I pour my soul out to you, begging you to buy good music and you disappoint me by buying something else. That I can do this week in and week out is like my own personal feat of strength. I'm putting up a Festivus pole in my office. I'll leave it up year round and think of you all often.
Watermelon Slim
Escape From The Chicken Coop
Told you about this one, I did, but let's talk about it again. Watermelon Slim is one of the most decorated bluesman of the 21st Century. It turns out he's also a decorated Vietnam War veteran, a member of MENSA, and those are just a couple of the more interesting biographical tidbits of the life of Bill Homans.
On Escape From The Chicken Coop, Slim is infusing his blues with a little bit more of a country sound. Coop was recorded in Nashville and produced by Delbert McClinton collaborator Gary Nicholson. The best songs on the record tend to be when he stays closer to his blues roots, but this is another solid effort from an American original.
Joe Pernice
It Feels So Good When I Stop
Joe Pernice occupies a special place in my heart and will for all time. I started a music section in our campus newspaper and a contact at Sub Pop records sent me three or four records for my consideration. One was Heather Duby's Post to Wire (which I love). Another was from a band called Chappaquiddick Skyline. In the press material, I learned CS was the brainchild of Scud Mountain Boy and Pernice Brother Joe Pernice. I didn't know either of those bands at the time, but I made a note to myself to give the disc a listen.
One rainy night while driving to meet up with TheGirlfriend (who is now TheWifeToWhomI'mMarried), I slid the disc into my stereo and the first words of the disc set in motion a relationship that has now lasted for more than 10 years: "I hate my life." I continued listening to that disc and over the years have collected every Scud Mtn. and Pernice Brothers record. I even imported Joe's 'solo' record Big Tobacco before it was domestically available, which brings us to his new 'solo' record, It Feels So Good When I Stop.
Watermelon Slim
Escape From The Chicken Coop
Told you about this one, I did, but let's talk about it again. Watermelon Slim is one of the most decorated bluesman of the 21st Century. It turns out he's also a decorated Vietnam War veteran, a member of MENSA, and those are just a couple of the more interesting biographical tidbits of the life of Bill Homans.
On Escape From The Chicken Coop, Slim is infusing his blues with a little bit more of a country sound. Coop was recorded in Nashville and produced by Delbert McClinton collaborator Gary Nicholson. The best songs on the record tend to be when he stays closer to his blues roots, but this is another solid effort from an American original.
Joe Pernice
It Feels So Good When I Stop
Joe Pernice occupies a special place in my heart and will for all time. I started a music section in our campus newspaper and a contact at Sub Pop records sent me three or four records for my consideration. One was Heather Duby's Post to Wire (which I love). Another was from a band called Chappaquiddick Skyline. In the press material, I learned CS was the brainchild of Scud Mountain Boy and Pernice Brother Joe Pernice. I didn't know either of those bands at the time, but I made a note to myself to give the disc a listen.
One rainy night while driving to meet up with TheGirlfriend (who is now TheWifeToWhomI'mMarried), I slid the disc into my stereo and the first words of the disc set in motion a relationship that has now lasted for more than 10 years: "I hate my life." I continued listening to that disc and over the years have collected every Scud Mtn. and Pernice Brothers record. I even imported Joe's 'solo' record Big Tobacco before it was domestically available, which brings us to his new 'solo' record, It Feels So Good When I Stop.
Music DVD Review: Elvis Presley - Elvis - The Ed Sullivan Show: The Classic Performances
Written by General Jabbo
1956 is often viewed as the “Big Bang” year for rock 'n' roll and no star made a bigger bang than a young man from Tupelo, MS named Elvis Presley. Presley’s appearance on The Ed Sullivan Show shattered TV records with 72 million viewers, making millions of girls swoon and inspiring countless musicians in the process. Those performances are collected on Elvis - The Ed Sullivan Show: The Classic Performances.
Ironically, these performances almost never happened. Sullivan wasn’t interested in booking Presley and it wasn’t until his appearance on The Steve Allen Show killed Sullivan in the ratings that he booked him for three appearances for a then unheard of $50,000. Presley won over Sullivan though by being easy to work with and a gentleman and Sullivan essentially apologized to his audience for typecasting him in the first place.
While this material has been previously released as Elvis - The Ed Sullivan Shows, those DVDs featured the entire broadcasts as they originally appeared. For fans who just want the Elvis portions, this is the DVD to get. The songs are complete and the picture quality is excellent.
And what performances they were. Elvis and his legendary original band featuring Scotty Moore on guitar, Bill Black on bass, and DJ Fontana on drums, along with the Jordanaires on backup vocals delivered 15 classic performances that ranged from pop (“Don’t Be Cruel”) to tender ballads (“Love Me Tender”) to rockers (“Hound Dog,” “Ready Teddy”) and even gospel (“Peace in the Valley”). These songs caused such a frenzy that Elvis’ third appearance in January of 1957 was famously filmed from the waist up. This was rock 'n' roll at its most primal and it scared parents.
The DVD includes a number of bonus features, including a silent home movie of a 1955 Elvis performance from Houston, TX (The earliest known footage of the King), interviews with Sun Records founder Sam Phillips and TV personality Wink Martindale, home movies of Elvis and Priscilla, and original Ed Sullivan clips promoting the show.
Elvis defined a generation with his sound and his look. His music influenced countless artists, including the Beatles and the Rolling Stones, literally paving the way for rock as we know it today. The importance of these performances cannot be underestimated. For fans that wonder why they call Elvis "the King," this DVD offers ample proof.
1956 is often viewed as the “Big Bang” year for rock 'n' roll and no star made a bigger bang than a young man from Tupelo, MS named Elvis Presley. Presley’s appearance on The Ed Sullivan Show shattered TV records with 72 million viewers, making millions of girls swoon and inspiring countless musicians in the process. Those performances are collected on Elvis - The Ed Sullivan Show: The Classic Performances.
Ironically, these performances almost never happened. Sullivan wasn’t interested in booking Presley and it wasn’t until his appearance on The Steve Allen Show killed Sullivan in the ratings that he booked him for three appearances for a then unheard of $50,000. Presley won over Sullivan though by being easy to work with and a gentleman and Sullivan essentially apologized to his audience for typecasting him in the first place.
While this material has been previously released as Elvis - The Ed Sullivan Shows, those DVDs featured the entire broadcasts as they originally appeared. For fans who just want the Elvis portions, this is the DVD to get. The songs are complete and the picture quality is excellent.
And what performances they were. Elvis and his legendary original band featuring Scotty Moore on guitar, Bill Black on bass, and DJ Fontana on drums, along with the Jordanaires on backup vocals delivered 15 classic performances that ranged from pop (“Don’t Be Cruel”) to tender ballads (“Love Me Tender”) to rockers (“Hound Dog,” “Ready Teddy”) and even gospel (“Peace in the Valley”). These songs caused such a frenzy that Elvis’ third appearance in January of 1957 was famously filmed from the waist up. This was rock 'n' roll at its most primal and it scared parents.
The DVD includes a number of bonus features, including a silent home movie of a 1955 Elvis performance from Houston, TX (The earliest known footage of the King), interviews with Sun Records founder Sam Phillips and TV personality Wink Martindale, home movies of Elvis and Priscilla, and original Ed Sullivan clips promoting the show.
Elvis defined a generation with his sound and his look. His music influenced countless artists, including the Beatles and the Rolling Stones, literally paving the way for rock as we know it today. The importance of these performances cannot be underestimated. For fans that wonder why they call Elvis "the King," this DVD offers ample proof.
Music Review: Celine Dion - My Love: Essential Collection
My Love: Essential Collection is a seventeen song compilation album of Celine Dion’s greatest hits. Please note that this single disc CD should not be confused with the double disc, My Love: Ultimate Essential Collection which has also been released.
Celine Dion has been an international star for about twenty years now and her label states that she has sold about 200 million albums worldwide. While she has been criticized at times, there can be no doubt that she possesses one of the purist and most powerful voices in music today. She combines her vocal prowess with superb technical ability. She may not be rock ‘n’ roll but she remains one of the most popular concert draws in the world. Last year she concluded an almost five year stay at Caesars Palace in Las Vegas.
The music on this CD has been released in various forms previously; including their albums of origin, soundtracks, and other compilation albums. However, when these songs are gathered together in one place they provide a testament to one of the great pop artists today and give a representative sample of some of her best and most enduring work.
Such songs as her “Beauty and The Beast” duet with Peabo Bryson, the haunting “My Heart Will Go On” from the movie Titanic, and the powerful vocals of “Where Does My Heart Beat Now” and “The Power Of Love” are all reminders of her talent and ability to produce hit songs.
Some pleasant inclusions were “The Power Of The Dream” from the opening ceremony of the 1996 Summer Olympics, a live version of “My Love” which shows that she does not need studio trickery to produce her sound, and her duet with R. Kelly, “I’m Your Angel.”
As with any compilation album there are tracks I would have liked to have seen added. I would have deleted some of her newer songs in favor of her 1997 duet with Barbra Streisand “Tell Him” and her brilliant duet “When I Fall In Love.”
My Love: Essential Collection may not break any new ground but it covers the old very well. It is an excellent gathering of some of her best tracks and as such is a pleasurable listening experience for devoted fans or new admirers who just want a taste of her best work.
Celine Dion has been an international star for about twenty years now and her label states that she has sold about 200 million albums worldwide. While she has been criticized at times, there can be no doubt that she possesses one of the purist and most powerful voices in music today. She combines her vocal prowess with superb technical ability. She may not be rock ‘n’ roll but she remains one of the most popular concert draws in the world. Last year she concluded an almost five year stay at Caesars Palace in Las Vegas.
The music on this CD has been released in various forms previously; including their albums of origin, soundtracks, and other compilation albums. However, when these songs are gathered together in one place they provide a testament to one of the great pop artists today and give a representative sample of some of her best and most enduring work.
Such songs as her “Beauty and The Beast” duet with Peabo Bryson, the haunting “My Heart Will Go On” from the movie Titanic, and the powerful vocals of “Where Does My Heart Beat Now” and “The Power Of Love” are all reminders of her talent and ability to produce hit songs.
Some pleasant inclusions were “The Power Of The Dream” from the opening ceremony of the 1996 Summer Olympics, a live version of “My Love” which shows that she does not need studio trickery to produce her sound, and her duet with R. Kelly, “I’m Your Angel.”
As with any compilation album there are tracks I would have liked to have seen added. I would have deleted some of her newer songs in favor of her 1997 duet with Barbra Streisand “Tell Him” and her brilliant duet “When I Fall In Love.”
My Love: Essential Collection may not break any new ground but it covers the old very well. It is an excellent gathering of some of her best tracks and as such is a pleasurable listening experience for devoted fans or new admirers who just want a taste of her best work.
Evanescence
If you've seen the hit movie Daredevil you've heard a Little Rock band that is making it's way up the Billboard Charts. That's right, the group Evanescence is actually from Little Rock, AR. Their song, "Bring Me To Life" off their album "Fallen" was chosen to be featured on the soundtrack of the latest Ben Affleck hit. Jennifer Garner also stars in the film.
Ben Moody and Amy Lee, the founders of the group, actually met at a church youth camp when they were teenagers. Moody was playing with a praise and worship group and Lee was a camper. According to Moody, he heard Lee playing the piano and later heard her singing. He was blown away and they have been together ever since.
The actual band was started in the late 1990s in Little Rock. They've had a large local following since the beginning. Their song "Understanding" got radio play before the two ever did any live performances.
Their latest single, "Bring Me To Life," is a "piano ballad-turned-riff-driven barnburner." Amy Lee's voice is like something I've never heard before. The song is definitely worth a listen and perfect for the movie "Daredevil". The song "My Immortal" is also featured on the "Daredevil" soundtrack. I imagine we'll hear more from Evanescence in the coming months.
Interestingly enough, even though the group started out as Christian Rock, their new album has gotten some criticism from Christian groups. Some groups even went as far as to suggest Christian stores and radio stations pull the cds. The group also seems to be trying to distance itself from the Christian genre and go into the more lucrative secular market. Perhaps "Fallen" is the perfect name for the album.
Rounding out the duo of Lee and Moody are John LeCompt on guitar and Rocky Gray on drums. Moody says, "As a four-piece, we are able to carry out the intricate harmonies and orchestrations of the memorable material on Fallen."
Ben Moody and Amy Lee, the founders of the group, actually met at a church youth camp when they were teenagers. Moody was playing with a praise and worship group and Lee was a camper. According to Moody, he heard Lee playing the piano and later heard her singing. He was blown away and they have been together ever since.
The actual band was started in the late 1990s in Little Rock. They've had a large local following since the beginning. Their song "Understanding" got radio play before the two ever did any live performances.
Their latest single, "Bring Me To Life," is a "piano ballad-turned-riff-driven barnburner." Amy Lee's voice is like something I've never heard before. The song is definitely worth a listen and perfect for the movie "Daredevil". The song "My Immortal" is also featured on the "Daredevil" soundtrack. I imagine we'll hear more from Evanescence in the coming months.
Interestingly enough, even though the group started out as Christian Rock, their new album has gotten some criticism from Christian groups. Some groups even went as far as to suggest Christian stores and radio stations pull the cds. The group also seems to be trying to distance itself from the Christian genre and go into the more lucrative secular market. Perhaps "Fallen" is the perfect name for the album.
Rounding out the duo of Lee and Moody are John LeCompt on guitar and Rocky Gray on drums. Moody says, "As a four-piece, we are able to carry out the intricate harmonies and orchestrations of the memorable material on Fallen."
Katherine Jackson Speaks Out For The First Time Since Michael’s Death
Michael Jackson’s mother Katherine spoke with Geraldo Rivera on FOX News Channel shortly after she was granted custody of the singer’s three children, Prince Michael, 12, Paris, 11 and Blanket, 7.
Asked about reports regarding Joe not being allowed to see the kids, Katherine said, “I don’t know why they’re saying he’s not allowed in the house. Joe is a good grandfather. The kids will tell you that.”
As for the circumstances regarding the King of Pop’s death, the 79-year-old said, “All I know is my son is dead – and I don’t think he died of natural causes or whatever. He’s too young to have that. Something happened. I don’t know what it was. And I can’t say.” Watch the interview below.
Asked about reports regarding Joe not being allowed to see the kids, Katherine said, “I don’t know why they’re saying he’s not allowed in the house. Joe is a good grandfather. The kids will tell you that.”
As for the circumstances regarding the King of Pop’s death, the 79-year-old said, “All I know is my son is dead – and I don’t think he died of natural causes or whatever. He’s too young to have that. Something happened. I don’t know what it was. And I can’t say.” Watch the interview below.
The Warning Lyrics Eminem
The Warning Lyrics Eminem – “The Warning” lyrics are below.Eminem’s new track “The Warning” lyrics where, he rips Mariah Carey and Nick Cannon are after the jump.
Only reason I dissed you in the first place is because you denied seeing me
Now I’m pissed off
Sit back and relax homey, kick back and relax, grab a six pack while I kick facts
Yeah Dre’s sick track, perfect way to get back
Wanna hear something wick wack?
I got the exact same tat that’s on Nick’s back
I’m obsessed now
Oh gee, is that supposed to be me in the video with the goatee
Wow Mariah, I didn’t expect her to go balls out
Bitch, shut the fuck up before I put all them phone calls out you made to my house when you was wild n out before Nick
When you was on my dick and give you somethin to smile about
How many times you fly to my house? Still trying to count
Better shut your lying mouth if you don’t want Nick finding out
You probably think cuz it’s been so long if i had something on you I woulda did it by now
On the contrary, Mary Poppins, I’m mixing our studio session down and sending it to mastering to make it loud
Enough dirt on you to murder you
This is what the fuck I do
Mariah, it ever occur to you that I still have pictures?
However you prefer to do and goes for you too, Nick, faggot
You think I’m scared of you?
You gonna ruin my career you better get one
Like I’ma sit and fight with you over some slut bitch cunt who made me put up with her psycho ass over 6 months and only spread her legs to let me hit once
Yeah, what you gonna say? I’m lucky? Tell the public that I was so ugly that you fucking had to be drunk to fuck me?
Second base? What the fuck you tell Nick, punk?
In the second week we was dry humping. It’s gotta count for something.
Listen, girly. Surely you don’t want me to talk about how I nutted early cos ejaculated early and bus all over your belly, and you almost started hurling and said I was gross, go get a towel you’re stomachs curling. Or maybe you do.
But if I’m embarrassing me, I’m embarrassing you and don’t you dare say it isn’t true.
As long as the song’s getting airplay I’m dissing you.
I’m a hair away from getting carried away and getting sued.
I was gonna stop at 16. This is 32. This is 34 bars. We ain’t even a third of the way through.
Damn, Slim. Mariah played you. Mariah who?
Oh did I say ”whore”, Nick? I meant a liar too.
Like I’ve been goin off on you all this time for no reason.
Girl you out ya alcholic mind. Check ya wine cellar. Look at all the amounts of wine.
Like I sit around and think about you all the time.
I just think this is funny when I pounce you on a rhyme.
But it now i’m about to draw the line.
And for you to cross it that’s a mountain that I doubt you wanna climb.
I can describe areas of your house that you wouldn’t find on an episode of Cribs
A blubba load ribs if I hear another word so don’t go opening your jibs cos every time you do it’s just another load of fibs
I ain’t saying this shit again, ho. You know what it is.
It’s a warning shot for before I blow up ya whole spot
Call my bluff and I’ll release every fucking thing I got
Including the voicemails right before you flipped your top
When me and Luis were tryin’ to stick two CD’s in the same spot
(Slim Shady I love you)
I love you too
Let me whisper sweet nothings into your ear, boo. Now what you say?
(It’s nothing)
Guess what I’ll do?
I’ll refresh your memory when you said ”I want you”
Now should I keep going or should we call truce?
(You think you’re cute, right? Hahaha)
You bet your sweet ass I do
(I’m Mary Poppins, b)
And I’m Superman, mmm
(Mary P. Slim Shady)
Comin’ at you
So if you’ll still be my (babygirl)
Then I’ll still be your (Superhero, Wilma M.)
Yeah, I’m right here
(You like this)
Nope. Not anymore, Dear.
It cuts like a (knife) when I tell ya get a (life)
But I’m movin on with mine
Nick, is that your (wife)
Well tell her to shut her mouth then I’ll leave her alone
If she don’t (sing this script?) then I’ma just keep goin
(I see Mary Ann. Mary Ann’s saying ”cut the tape, cut the tape”. Knife!)
Only reason I dissed you in the first place is because you denied seeing me
Now I’m pissed off
Sit back and relax homey, kick back and relax, grab a six pack while I kick facts
Yeah Dre’s sick track, perfect way to get back
Wanna hear something wick wack?
I got the exact same tat that’s on Nick’s back
I’m obsessed now
Oh gee, is that supposed to be me in the video with the goatee
Wow Mariah, I didn’t expect her to go balls out
Bitch, shut the fuck up before I put all them phone calls out you made to my house when you was wild n out before Nick
When you was on my dick and give you somethin to smile about
How many times you fly to my house? Still trying to count
Better shut your lying mouth if you don’t want Nick finding out
You probably think cuz it’s been so long if i had something on you I woulda did it by now
On the contrary, Mary Poppins, I’m mixing our studio session down and sending it to mastering to make it loud
Enough dirt on you to murder you
This is what the fuck I do
Mariah, it ever occur to you that I still have pictures?
However you prefer to do and goes for you too, Nick, faggot
You think I’m scared of you?
You gonna ruin my career you better get one
Like I’ma sit and fight with you over some slut bitch cunt who made me put up with her psycho ass over 6 months and only spread her legs to let me hit once
Yeah, what you gonna say? I’m lucky? Tell the public that I was so ugly that you fucking had to be drunk to fuck me?
Second base? What the fuck you tell Nick, punk?
In the second week we was dry humping. It’s gotta count for something.
Listen, girly. Surely you don’t want me to talk about how I nutted early cos ejaculated early and bus all over your belly, and you almost started hurling and said I was gross, go get a towel you’re stomachs curling. Or maybe you do.
But if I’m embarrassing me, I’m embarrassing you and don’t you dare say it isn’t true.
As long as the song’s getting airplay I’m dissing you.
I’m a hair away from getting carried away and getting sued.
I was gonna stop at 16. This is 32. This is 34 bars. We ain’t even a third of the way through.
Damn, Slim. Mariah played you. Mariah who?
Oh did I say ”whore”, Nick? I meant a liar too.
Like I’ve been goin off on you all this time for no reason.
Girl you out ya alcholic mind. Check ya wine cellar. Look at all the amounts of wine.
Like I sit around and think about you all the time.
I just think this is funny when I pounce you on a rhyme.
But it now i’m about to draw the line.
And for you to cross it that’s a mountain that I doubt you wanna climb.
I can describe areas of your house that you wouldn’t find on an episode of Cribs
A blubba load ribs if I hear another word so don’t go opening your jibs cos every time you do it’s just another load of fibs
I ain’t saying this shit again, ho. You know what it is.
It’s a warning shot for before I blow up ya whole spot
Call my bluff and I’ll release every fucking thing I got
Including the voicemails right before you flipped your top
When me and Luis were tryin’ to stick two CD’s in the same spot
(Slim Shady I love you)
I love you too
Let me whisper sweet nothings into your ear, boo. Now what you say?
(It’s nothing)
Guess what I’ll do?
I’ll refresh your memory when you said ”I want you”
Now should I keep going or should we call truce?
(You think you’re cute, right? Hahaha)
You bet your sweet ass I do
(I’m Mary Poppins, b)
And I’m Superman, mmm
(Mary P. Slim Shady)
Comin’ at you
So if you’ll still be my (babygirl)
Then I’ll still be your (Superhero, Wilma M.)
Yeah, I’m right here
(You like this)
Nope. Not anymore, Dear.
It cuts like a (knife) when I tell ya get a (life)
But I’m movin on with mine
Nick, is that your (wife)
Well tell her to shut her mouth then I’ll leave her alone
If she don’t (sing this script?) then I’ma just keep goin
(I see Mary Ann. Mary Ann’s saying ”cut the tape, cut the tape”. Knife!)
Passion Pit Bring "The Reeling" To Fallon
The Massachusetts synth-pop outfit has taken its Manners pretty much everywhere this year -- in the club, on a boat, etc. -- but until last night a network television performance eluded them. Jimmy Fallon's crew continues to pick up the slack left by Conan's slightly (com)modified music guest booking policy by giving Passion Pit their big shot on TV. Just as well, they're not quite ready for the Tonight Show lights, but they don't exactly sound like a band that's only been around for like a year and change, either. Also it's rare to see Michael Angelakos do his helium vocals without a bevy of keyboards in front of him, so feel free to take the chance and rate his lead-man/stage-roaming presence if you want.
International DJ Expo 2009 - DJ Times Expo Take 2: Return to Atlantic City
Billed as the "world's largest gathering of professional dj's," the International DJ Expo 2009 is scheduled for August 10th-13th at the Trump Taj Mahal Hotel & Casino in Atlantic City, NJ. The event will feature over 25 educational seminars, networking opportunities, over 50,000 square feet of exhibitor space with 130 vendor booths and nightly parties with artist and DJ showcases at Atlantic City's top venues.
Seminar topics will focus on three tracks: "mobile djs", "dj culture & music", and "gear & tech." issues for the mobile entertainer, the multi-system mobile, the club dj, the remixer/producer and the bedroom/beginner dj. Topics include Negotiating the New Economy, Turning Twitter into Cash, Alternative Markets, Making Tracks, Wedding Timetables, Spinning Video, and Tech Talk. A special expo keynote speech will be given by Matt Anderson of The Referral Authority about how to build a DJ business through networking and building relationships. The speech is billed as "The Anatomy of a Proven Marketing System That Can Brings Millions to DJ Entertainers."
Nighttime events will take place at all the hot spots in Atlantic City. Showcases will feature performances from top DJs and dance music artists. Artists and DJs are being announced with the first being DJ Qbert.
A highlight of the this year's event will be the Promo Only party on August 11th which last year featured Lady Gaga, Akon, and Cyndi Lauper. The event will be hosted by Three6 Mafia, Brooke Hogan, and Joanna Krupa and feature performers from all realms of dance music - chart toppers (Pitbull, Deborah Cox), stars of dance radio (Kim Sozzi, AnnaGrace), clubland divas (Sylvia Tosun, Erika Jayne), legendary dance artists (Lisette Melendez, Freedom Williams) and newcomeers to watch (Kristinia DeBarge, Paradiso Girls, Kaci Battaglia, LeToya, Jason Derulo, Iyaz.)
Another highlight will be The Big Sessions at Club Worship on Monday, August 10th which will feature sets by Ray Roc, Peter Presta, Rod Carillo, Lost Daze and The Camel Rider as well as a performance by Chris Willis. But it's not just about having gorgeous guys on stage, there will also be special appearances by many lovely ladies including Joanna Krupa, America Olivo, Natalie Reid and Kaci Battaglia ("Crazy Possessive.")
To register for the Internation DJ Expo, go to International DJ Expo website.
Seminar topics will focus on three tracks: "mobile djs", "dj culture & music", and "gear & tech." issues for the mobile entertainer, the multi-system mobile, the club dj, the remixer/producer and the bedroom/beginner dj. Topics include Negotiating the New Economy, Turning Twitter into Cash, Alternative Markets, Making Tracks, Wedding Timetables, Spinning Video, and Tech Talk. A special expo keynote speech will be given by Matt Anderson of The Referral Authority about how to build a DJ business through networking and building relationships. The speech is billed as "The Anatomy of a Proven Marketing System That Can Brings Millions to DJ Entertainers."
Nighttime events will take place at all the hot spots in Atlantic City. Showcases will feature performances from top DJs and dance music artists. Artists and DJs are being announced with the first being DJ Qbert.
A highlight of the this year's event will be the Promo Only party on August 11th which last year featured Lady Gaga, Akon, and Cyndi Lauper. The event will be hosted by Three6 Mafia, Brooke Hogan, and Joanna Krupa and feature performers from all realms of dance music - chart toppers (Pitbull, Deborah Cox), stars of dance radio (Kim Sozzi, AnnaGrace), clubland divas (Sylvia Tosun, Erika Jayne), legendary dance artists (Lisette Melendez, Freedom Williams) and newcomeers to watch (Kristinia DeBarge, Paradiso Girls, Kaci Battaglia, LeToya, Jason Derulo, Iyaz.)
Another highlight will be The Big Sessions at Club Worship on Monday, August 10th which will feature sets by Ray Roc, Peter Presta, Rod Carillo, Lost Daze and The Camel Rider as well as a performance by Chris Willis. But it's not just about having gorgeous guys on stage, there will also be special appearances by many lovely ladies including Joanna Krupa, America Olivo, Natalie Reid and Kaci Battaglia ("Crazy Possessive.")
To register for the Internation DJ Expo, go to International DJ Expo website.
2009 Aspen Music Festival
When:
June 25 - August 23,
Where:
Aspen, Colorado
About the Aspen Music Festival:
Founded in 1949, Music Director David Zinman will preside over the nine-week summer festival which includes over 350 events. 750+ students come from around the world come to the Aspen Music Festival and School to study and perform with the world's top artists.
Aspen Music Festival Ticket Information:
This year the online box office has been experiencing difficulties, but you can always order your tickets by phone. For more information on how to do so, as well as information on the entire 2009 events calendar, visit Aspen Music Festival.
Performances and Featured Artists:
With as many events scheduled for this year's festival, it would be nearly impossible to list every piece of music performed as well as the artists performing them. However, here are a few performers that might catch your interest: Jeremy Denk (piano), Nathan Gunn (baritone), Sasha Cooke (mezzo-soprano), and Dawn Upshaw (soprano). You'll hear works by Beethoven, Bach, Haydn, Bernstein, Schumann, Mozart, Mendelssohn, Tchaikovsky, Verdi, Elgar, Rossini... the list just keeps on going... Shostakovich, Brahms, Dvorak, Wagner, Strauss, and many many more (just to name a few).
June 25 - August 23,
Where:
Aspen, Colorado
About the Aspen Music Festival:
Founded in 1949, Music Director David Zinman will preside over the nine-week summer festival which includes over 350 events. 750+ students come from around the world come to the Aspen Music Festival and School to study and perform with the world's top artists.
Aspen Music Festival Ticket Information:
This year the online box office has been experiencing difficulties, but you can always order your tickets by phone. For more information on how to do so, as well as information on the entire 2009 events calendar, visit Aspen Music Festival.
Performances and Featured Artists:
With as many events scheduled for this year's festival, it would be nearly impossible to list every piece of music performed as well as the artists performing them. However, here are a few performers that might catch your interest: Jeremy Denk (piano), Nathan Gunn (baritone), Sasha Cooke (mezzo-soprano), and Dawn Upshaw (soprano). You'll hear works by Beethoven, Bach, Haydn, Bernstein, Schumann, Mozart, Mendelssohn, Tchaikovsky, Verdi, Elgar, Rossini... the list just keeps on going... Shostakovich, Brahms, Dvorak, Wagner, Strauss, and many many more (just to name a few).
Papa Roach European dates
Papa Roach, the Grammy nominated Californian quartet, are crossing the Atlantic this September for a UK and European tour in support of the their fifth studio album Metamorphosis and forthcoming single I Almost Told You I Loved You. . The tour kicks off on September 29 in Weisbaden, Germany and carries through October 24 at the Academy in London. VIP and presale tickets will be available from Saturday 1st August from www.paparoach.com and for general sale from Wednesday 5th August.
Metamorphosis debuted at No. 8 in the Billboard charts and spawned the No. 1 hit single Lifeline in the US. While Kerrang! Magazine confirmed "they're now armed with a set of songs and a command of both stage and audience that are superb on every level."
Since bursting onto the scene in 2000, Papa Roach have established themselves on an international stage having sold over 8 million albums worldwide and playing in cities across the globe.
Every Papa Roach show is jammed full of pounding guitars, rock star swagger, catchy hooks and a phenomenal raw energy that means these gigs are not to be missed.
Papa Roach will be supported on their UK and European tour by US band Madina Lake and the UK's own Heaven's Basement.
VIP tickets will be available on Saturday 1st August as presale exclusively through www.paparoach.com and for general sale from Wednesday 5th August.
Tue-Sep-29 Weisbaden GERMANY Schlachthof
Thu-Oct-01 Tilburg NETHERLANDS O13
Fri-Oct-02 Dortmund GER FZW- VISIONS PARTY!
Sat-Oct-03 Berlin GERMANY Huxley's
Sun-Oct-04 Stuttgart GERMANY Longhorn
Tue-Oct-06 Wolverhampton ENGLAND Wolverhampton Civic
Wed-Oct-07 Nottingham ENGLAND Rock City
Fri-Oct-09 Glasgow SCOTLAND Academy
Sat-Oct-10 London ENGLAND Brixton Academy
Sun-Oct-11 Manchester ENGLAND Academy
Tue-Oct-13 Newcastle ENGLAND Academy
Wed-Oct-14 Sheffield ENGLAND Academy
http://www.paparoach.com/
http://www.myspace.com/paparoach
Metamorphosis debuted at No. 8 in the Billboard charts and spawned the No. 1 hit single Lifeline in the US. While Kerrang! Magazine confirmed "they're now armed with a set of songs and a command of both stage and audience that are superb on every level."
Since bursting onto the scene in 2000, Papa Roach have established themselves on an international stage having sold over 8 million albums worldwide and playing in cities across the globe.
Every Papa Roach show is jammed full of pounding guitars, rock star swagger, catchy hooks and a phenomenal raw energy that means these gigs are not to be missed.
Papa Roach will be supported on their UK and European tour by US band Madina Lake and the UK's own Heaven's Basement.
VIP tickets will be available on Saturday 1st August as presale exclusively through www.paparoach.com and for general sale from Wednesday 5th August.
Tue-Sep-29 Weisbaden GERMANY Schlachthof
Thu-Oct-01 Tilburg NETHERLANDS O13
Fri-Oct-02 Dortmund GER FZW- VISIONS PARTY!
Sat-Oct-03 Berlin GERMANY Huxley's
Sun-Oct-04 Stuttgart GERMANY Longhorn
Tue-Oct-06 Wolverhampton ENGLAND Wolverhampton Civic
Wed-Oct-07 Nottingham ENGLAND Rock City
Fri-Oct-09 Glasgow SCOTLAND Academy
Sat-Oct-10 London ENGLAND Brixton Academy
Sun-Oct-11 Manchester ENGLAND Academy
Tue-Oct-13 Newcastle ENGLAND Academy
Wed-Oct-14 Sheffield ENGLAND Academy
http://www.paparoach.com/
http://www.myspace.com/paparoach
Dananananaykroyd drummer breaks arm
DANANANANAYKROYD have unfortunately had to pull the last two shows of their current Australian tour, as drummer John Baillie Junior sustained a double arm injury during their gig in Sydney yesterday.
Two songs into the band's set at the Annandale Hotel in Sydney, John snapped one of his forearm bones and broke a piece off his elbow while jumping down to meet the crowd. He is currently in hospital in Sydney receiving treatment.
The band's appearance at Belladrum festival next Friday (7th August) has been cancelled. Further news will follow regarding the rest of the band's upcoming shows.
Band mate Calum Gunn explains the situation; "The details still aren't really very clear. John, I think he just kind of came off the stage a bit funny and has done something pretty bad to his arm. The latest I've heard is that he's taken a bit of his elbow bone off."
"We couldn't really go on without John and so we stopped the show and got him medical attention as soon as possible. There was a doctor in the audience which was really cool. Kind of cliched 'is there a doctor here?' thing actually worked. She looked after John for a while until the ambulance arrived."
And in terms of this affecting future shows and tours; "It all depends on how John's arm gets I suppose. We've not really had the chance to regroup just yet. Unfortunately we can't obviously play in Melbourne tonight which is a total shame. We're just sad that we're not able to play."
Two songs into the band's set at the Annandale Hotel in Sydney, John snapped one of his forearm bones and broke a piece off his elbow while jumping down to meet the crowd. He is currently in hospital in Sydney receiving treatment.
The band's appearance at Belladrum festival next Friday (7th August) has been cancelled. Further news will follow regarding the rest of the band's upcoming shows.
Band mate Calum Gunn explains the situation; "The details still aren't really very clear. John, I think he just kind of came off the stage a bit funny and has done something pretty bad to his arm. The latest I've heard is that he's taken a bit of his elbow bone off."
"We couldn't really go on without John and so we stopped the show and got him medical attention as soon as possible. There was a doctor in the audience which was really cool. Kind of cliched 'is there a doctor here?' thing actually worked. She looked after John for a while until the ambulance arrived."
And in terms of this affecting future shows and tours; "It all depends on how John's arm gets I suppose. We've not really had the chance to regroup just yet. Unfortunately we can't obviously play in Melbourne tonight which is a total shame. We're just sad that we're not able to play."
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