 Artist: Curd Duca: mp3 download Genre(s): Dance Curd Duca's discography:  Elevator Year: 1998 Tracks: 27 The productions of electronic modality medicine figure Curd Duca look back to the late-'60s dawn of popular synthesist medicine, the age of Wendy Carlos' classical-synth fusions and studio producers reality Health Organization experimented with data processor music by yoking it to crop up pieces. Duca's been in the music line of work since the early '80s, in the first place playing keyboards for the German groups Auch Wenn Es Seltsam Klingen Mag and 8 Oder 9 -- the latter released a half dozen LPs during the '80s. In 1992, he recorded his solo debut, Easy Listening, the origin in what became a five-volume series on Normal Records that took up most of the subsequent quadruplet days. Moving to the solid experimental/techno label Mille Plateaux in 1997, Duca released Switched-On Wagner, a series of synthesizer translations of plant in the first gear place by the German quixotic monster Richard Wagner. The following class, he inaugurated fifty-fifty another series, Lift, each book of which included stacks of light tracks in a muzaky fashion. |
Wednesday, 27 August 2008
Mp3 music: Curd Duca
Thursday, 7 August 2008
Tuesday, 1 July 2008
Thursday, 26 June 2008
Tuesday, 24 June 2008
The Crown
Artist: The Crown
Genre(s):
Rock
Metal: Death,Black
Discography:
Possessed 13
Year: 2004
Tracks: 13
Possessed 13 (CD 2)
Year: 2003
Tracks: 13
Crowned In Terror
Year: 2002
Tracks: 11
Deathrace King
Year: 2000
Tracks: 11
Hell Is Here
Year: 1998
Tracks: 11
Will Ferrell Puts the Funk in the Dunk
Alton Kelley
1940 - 2008
PETALUMA, Calif., June 2 -- Legendary artist Alton Kelley
created a graphic style that rocked the world beginning in the psychedelic
Sixties. His concert posters, logo designs, LP album covers, and fine art
have forevermore defined that time. Kelley, born June 17, 1940, passed away
peacefully at home on Sunday, June 1st 2008 of complications from a long
illness.
(Photo: http://www.newscom.com/cgi-bin/prnh/20080602/LAM040)
He is survived by the true love of his life, Marguerite Trousdale
Kelley. He also leaves his mother Annie, sister Kathy, and beloved children
Patty, Yossarian, and China, and beautiful grandchildren Life and Lacoda.
Through his mind-expanding creativity and over several decades, Kelley
gave rock music new colors, shapes, and themes expressing the optimism and
enthusiasm of young people around the globe. His graphics defined youth
culture as much as the music itself -- in effect his art was a
break-through collaboration with musicians and bands such as the Grateful
Dead, Jerry Garcia, Janis Joplin, and Jimi Hendrix. As Joel Selvin, rock
critic for the San Francisco Chronicle, put it, "Kelley and Mouse drew the
first face on rock music."
Kelley and his life-long collaborator Stanley Mouse are best known for
their posters for "San Francisco style" dance-concerts at the Fillmore
Auditorium, Winterland arena, the Fillmore West, the Avalon Ballroom, and a
host of other Bay Area theaters and amphitheaters. They also created
world-renowned posters and album covers for the Grateful Dead, Journey,
Steve Miller, Jimi Hendrix, The Beatles, and others.
The two artists historically worked as a team, in their words "riffing
off each other's giggle." They joyfully appropriated from historic sources,
in one instance re-working an obscure nineteenth-century etching to create
their iconic Grateful Dead "skeleton and roses" design. They combined
vibrant Sixties color with French poster-making joi de vivre enthusiasm,
and their own adapted technique, to generate compelling pieces often issued
on a weekly basis, ultimately dazzling millions worldwide. Thus, they
changed advertising art forever, as their posters were key examples of what
became one of the most important art movements of the latter part of the
twentieth century.
When Kelley (a native of Maine) met Mouse (a native of Detroit, MI) in
San Francisco's Haight-Ashbury district in late 1965 (the "Haight" was the
epicenter of the hippie movement, culminating in the "Summer of Love" in
1967), they instantly recognized they were kindred spirits in what Mouse
describes as "one of the juiciest scenes of all time." Their concert
posters, commissioned by Fillmore promoter Bill Graham and Graham's rival,
the Avalon's Family Dog collective, were eagerly snapped up by bands and
fans alike.
In the decades since, Mouse and Kelley's classics have established even
greater popularity, rivaling the interest long shown by collectors of
French turn-of-the-century Belle Epoque art made famous by Toulouse-Lautrec
and others.
"There is one word for Alton Kelley's lifelong contribution, and that
is 'iconic.'" said Dell Furano, CEO of Signatures Network. "Kelley's
artwork, designs, posters, album covers, tour logos set a standard of
inspired creativity that has remained as influential as the great San
Francisco Rock Scene of the 60's, 70's and 80's."
In his later years, Kelley joyfully turned to illustrating hot rods and
custom cars, as fine art paintings, and for t-shirts and other merchandise.
In lieu of flowers, donations can be made at the Washington Mutual
Western Street branch in Petaluma, CA for a memorial bench in a Sonoma
County Park. A memorial event will be announced shortly.
For members of the press: photographs, selected artwork, and video
bites are available by contacting:
Jennifer Gross
Evolutionary Media Group
323-658-8700
Jennifer@emgpr.com
See Also
PETALUMA, Calif., June 2 -- Legendary artist Alton Kelley
created a graphic style that rocked the world beginning in the psychedelic
Sixties. His concert posters, logo designs, LP album covers, and fine art
have forevermore defined that time. Kelley, born June 17, 1940, passed away
peacefully at home on Sunday, June 1st 2008 of complications from a long
illness.
(Photo: http://www.newscom.com/cgi-bin/prnh/20080602/LAM040)
He is survived by the true love of his life, Marguerite Trousdale
Kelley. He also leaves his mother Annie, sister Kathy, and beloved children
Patty, Yossarian, and China, and beautiful grandchildren Life and Lacoda.
Through his mind-expanding creativity and over several decades, Kelley
gave rock music new colors, shapes, and themes expressing the optimism and
enthusiasm of young people around the globe. His graphics defined youth
culture as much as the music itself -- in effect his art was a
break-through collaboration with musicians and bands such as the Grateful
Dead, Jerry Garcia, Janis Joplin, and Jimi Hendrix. As Joel Selvin, rock
critic for the San Francisco Chronicle, put it, "Kelley and Mouse drew the
first face on rock music."
Kelley and his life-long collaborator Stanley Mouse are best known for
their posters for "San Francisco style" dance-concerts at the Fillmore
Auditorium, Winterland arena, the Fillmore West, the Avalon Ballroom, and a
host of other Bay Area theaters and amphitheaters. They also created
world-renowned posters and album covers for the Grateful Dead, Journey,
Steve Miller, Jimi Hendrix, The Beatles, and others.
The two artists historically worked as a team, in their words "riffing
off each other's giggle." They joyfully appropriated from historic sources,
in one instance re-working an obscure nineteenth-century etching to create
their iconic Grateful Dead "skeleton and roses" design. They combined
vibrant Sixties color with French poster-making joi de vivre enthusiasm,
and their own adapted technique, to generate compelling pieces often issued
on a weekly basis, ultimately dazzling millions worldwide. Thus, they
changed advertising art forever, as their posters were key examples of what
became one of the most important art movements of the latter part of the
twentieth century.
When Kelley (a native of Maine) met Mouse (a native of Detroit, MI) in
San Francisco's Haight-Ashbury district in late 1965 (the "Haight" was the
epicenter of the hippie movement, culminating in the "Summer of Love" in
1967), they instantly recognized they were kindred spirits in what Mouse
describes as "one of the juiciest scenes of all time." Their concert
posters, commissioned by Fillmore promoter Bill Graham and Graham's rival,
the Avalon's Family Dog collective, were eagerly snapped up by bands and
fans alike.
In the decades since, Mouse and Kelley's classics have established even
greater popularity, rivaling the interest long shown by collectors of
French turn-of-the-century Belle Epoque art made famous by Toulouse-Lautrec
and others.
"There is one word for Alton Kelley's lifelong contribution, and that
is 'iconic.'" said Dell Furano, CEO of Signatures Network. "Kelley's
artwork, designs, posters, album covers, tour logos set a standard of
inspired creativity that has remained as influential as the great San
Francisco Rock Scene of the 60's, 70's and 80's."
In his later years, Kelley joyfully turned to illustrating hot rods and
custom cars, as fine art paintings, and for t-shirts and other merchandise.
In lieu of flowers, donations can be made at the Washington Mutual
Western Street branch in Petaluma, CA for a memorial bench in a Sonoma
County Park. A memorial event will be announced shortly.
For members of the press: photographs, selected artwork, and video
bites are available by contacting:
Jennifer Gross
Evolutionary Media Group
323-658-8700
Jennifer@emgpr.com
See Also
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