 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
Monday, 23 June 2008
Adrian Orange
Artist: Adrian Orange
Genre(s):
Rock
Discography:
Bitches Is Lord
Year: 2006
Tracks: 15
Going the Bill Callahan route, Adrian Orange dropped his Thanksgiving sobriquet and started drifting aside from the fuzzed lo-fi folk music sound that marked his lowly beginnings as a soloist. After 2006's Undermine Days and Moments he proclaimed that he was interested moving in a dance-pop direction with a wide band and released Bitches Is Lord afterward that year, staying true to his lo-fi conformation despite the accession of overdubbed galvanising guitar, bass, and drums to his compositions. In 2007, he hooked up with a massive 17-person backing group, complete with horn section, and recorded Publius Aelius Hadrianus Orange & Her Band under the alias Adrian Orange & Her Band, as if his old pseudonym wasn't confusing enough.
David Sylvian
High Tide
Artist: High Tide
Genre(s):
Alternative
Discography:
Sea Shanties
Year: 1969
Tracks: 6
A group that crataegus oxycantha ingest been also clever by half to win in England, High Tide ne'er received more than a minimal amount of money of credence in their own area, simply found a cult hearing on the European continent. Formed in 1969, they played reformist stone with some folks and pop influences. Tony Hill was the singer and guitar player, Simon House played fiddle and keyboards, Peter Pavli handled the bass part, and Roger Hadden played the drums. They were signed to Liberty Records' U.K. variance in 1969 and released two albums o'er the following twelvemonth -- Ocean Shanties and a self-titled second album -- both of which featured fulgurous guitar work by Hill and occasional hitting interplay between his instrument and House's fiddle. The group never really establish an audience however, rending up in 1970. Simon House later became a member of Hawkwind, played with David Bowie, and united members of the Third Ear Band to perform on the soundtrack of Roman Polanski's flick Macbeth. Pavli later joined in recording with House and respective other Hawkwind expatriates. Hill and House receive as well recorded together in more than recent long time. The group as well backed Denver Gerrard on his 1970 solo album.
Coldplay debuts songs at free U.K. show
Performs at Brixton Academy, heads to Barcelona
LONDON -- There were some miscues and cobwebs, but Coldplay confidently returned to the live stage Monday night at the U.K.'s Brixton Academy, unveiling a host of songs from its chart-topping new album, "Viva La Vida or Death and All His Friends."
"Viva La Vida" sold more than 300,000 copies in only three days in the U.K., and the band certainly didn't wilt under the expectation, playing to a capacity crowd of 4,900 at one of three free shows scheduled for this month.
After opening with the new album's instrumental "Life in Technicolor," the group launched into a string of instantly recognizable numbers, including "Violet Hill," "Clocks" and "In My Place." The four band members stayed in theme with the "Viva La Vida" art scheme, wearing their souped-up French Revolution-style jackets, which have appeared in recent photo shoots.
In between tracks, frontman Chris Martin defied his stereotype as a grouch when he cracked a joke apparently told to him by a gloating German interviewer. "What do British people do when they have finished winning the World Cup and the European championships (of soccer)," he said, before finishing, "they turn off the PlayStation."
Throughout the night, Martin switched between keyboards and guitar, or throwing himself about in front of the mic stand. He even appeared at the venue's balcony, where he delivered a stripped-down version of "Yellow."
As the band prepped for "God Put a Smile Upon Your Face," Martin joked, "Even when we're not trying, we still manage to plagiarize Radiohead." Moments later, he retracted his comment, noting that it might not go down so well with the BBC Radio 1 audience who were tuning in to the live broadcast.
The set list included a crowd-pleasing encore of "Fix You," and at one point the band took a brief stab at Girls Aloud's hit single "Call the Shots."
Coldplay moves on to Barcelona for a free concert Tuesday at the Espacio Movistar venue, and will follow up with another at New York's Madison Square Garden on June 23. "Viva La Vida" is released Tuesday in the U.S.
Here is Coldplay's Brixton Academy set list:
"Life in Technicolor""Violet Hill""Clocks""In My Place""Viva La Vida""Chinese Sleep Chant""God Put a Smile Upon Your Face""42""Square One""Trouble""Lost!""Strawberry Swing""Yellow""Death Will Never Conquer""Fix You""Lovers in Japan"
LONDON -- There were some miscues and cobwebs, but Coldplay confidently returned to the live stage Monday night at the U.K.'s Brixton Academy, unveiling a host of songs from its chart-topping new album, "Viva La Vida or Death and All His Friends."
"Viva La Vida" sold more than 300,000 copies in only three days in the U.K., and the band certainly didn't wilt under the expectation, playing to a capacity crowd of 4,900 at one of three free shows scheduled for this month.
After opening with the new album's instrumental "Life in Technicolor," the group launched into a string of instantly recognizable numbers, including "Violet Hill," "Clocks" and "In My Place." The four band members stayed in theme with the "Viva La Vida" art scheme, wearing their souped-up French Revolution-style jackets, which have appeared in recent photo shoots.
In between tracks, frontman Chris Martin defied his stereotype as a grouch when he cracked a joke apparently told to him by a gloating German interviewer. "What do British people do when they have finished winning the World Cup and the European championships (of soccer)," he said, before finishing, "they turn off the PlayStation."
Throughout the night, Martin switched between keyboards and guitar, or throwing himself about in front of the mic stand. He even appeared at the venue's balcony, where he delivered a stripped-down version of "Yellow."
As the band prepped for "God Put a Smile Upon Your Face," Martin joked, "Even when we're not trying, we still manage to plagiarize Radiohead." Moments later, he retracted his comment, noting that it might not go down so well with the BBC Radio 1 audience who were tuning in to the live broadcast.
The set list included a crowd-pleasing encore of "Fix You," and at one point the band took a brief stab at Girls Aloud's hit single "Call the Shots."
Coldplay moves on to Barcelona for a free concert Tuesday at the Espacio Movistar venue, and will follow up with another at New York's Madison Square Garden on June 23. "Viva La Vida" is released Tuesday in the U.S.
Here is Coldplay's Brixton Academy set list:
"Life in Technicolor""Violet Hill""Clocks""In My Place""Viva La Vida""Chinese Sleep Chant""God Put a Smile Upon Your Face""42""Square One""Trouble""Lost!""Strawberry Swing""Yellow""Death Will Never Conquer""Fix You""Lovers in Japan"
LiveDaily News Break, May 29: Jonas Brothers, K.D. Lang, 3 Doors Down and more
Today's edition features news and tour information about K.D. Lang, Mighty Mighty Bosstones, Bette Midler [ tickets ] and the Jonas Brothers [ tickets ]. We'll also find out which albums make up the Top 5 on this week's chart.* * *K.D. Lang has added another US leg to a world tour in support her latest album, "Watershed." The Grammy-winning singer/songwriter, who's already been through the US, Australia and New Zealand this year, is currently touring her home country of Canada, and is now set to kick off her next US roadtrip in late September.* * *The Mighty Mighty Bosstones [ tickets ] continue to ramp up their return to active performing status with a new co-headlining run in July with fellow Boston rock act Dropkick Murphys [ tickets ]. The Bosstones, who returned from a three-year hiatus last year and have performed a handful of shows since last fall, will kick off ther summer outing July 7 in Chicago.* * *After debuting her Las Vegas production in February with a 19-date sellout, Bette Midler is gearing up for her next round of performances. Dubbed "The Showgirl Must Go On," Midler's over-the-top extravaganza will return to the The Colosseum at Caesars Palace returns for a four-week summer run starting June 24, and 30 addition performances are lined up from early October through the end of the year.* * *The Jonas Brothers, who are gearing up for a major US tour this summer, have scheduled an Aug. 12 release date for their third album, "A Little Bit Longer." The forthcoming set's lead single, "Burnin' Up," is also the name of the pop-rock trio's North American tour, which is set to launch July 4 in Toronto and visit more than 35 US amphitheaters and arenas from coast to coast through late August. * * * 3 Doors Down [ tickets ]'s new, self-titled set sold 154,000 copies during its first week in stores, enough to give the group its second consecutive No. 1 album on The Billboard 200 chart. Meanwhile, Rapper Bun B, formerly of UGK, enters the chart at No. 2 with "II Trill," two-time "Dancing With the Stars" champ-turned-country-singer Julianne Hough's self-titled debut checks in at No. 3, the Frank Sinatra retrospective "Nothing But the Best" falls two notches to No. 4 and Death Cab for Cutie's "Narrow Stairs" drops from No. 1 to No. 5.
MTV moves Video Music Awards to Los Angeles
NEW YORK —
See Also
The MTV Video Music Awards are going Hollywood.
After broadcasting from Las Vegas last year, the awards will air live from Paramount Pictures Studios in Los Angeles on Sept. 7, MTV announced Monday.
MTV said it plans for the first time to enlist its Web-savvy, youthful audience to help decide the nominees.
The network intends to take over the movie studio's lot and present the awards show from sound stages, rooftops and city streets. MTV and Paramount are corporate cousins within Viacom Inc.
"With Paramount Pictures as the ideal setting, the glamour and musical heritage of L.A. are sure to be catalysts for creating explosive pop culture moments that the VMAs are known for," Van Toffler, president of MTV Networks Music Group, said in a statement.
September's VMAs - which will mark the show's 25th year - has a tough act to follow after last year's drama-filled extravaganza at the Palms Casino Resort.
The Vegas edition delivered one of the most-talked about performances in recent history: Britney Spears' reviled comeback performance in which the pop star appeared nervous, out-of-shape and just plain out-of-it on stage.
There was also an off-camera fight between Pamela Anderson exes Kid Rock and Tommy Lee, and more divalike behavior from Kanye West, who threw a tantrum in front of media and crew backstage because he lost all five categories for which he was nominated. (Can anyone say "omg"?)
It's been a decade since MTV last televised the VMAs in Los Angeles. In recent years, the show has been presented from Miami and MTV's home base of New York.
This year's host, nominees and slate of performers will be announced at a later date.
---
On the Net:
http://www.mtv.com/
See Also
Charles kynard
Artist: Charles kynard
Genre(s):
Jazz
Discography:
Reelin' With the Feelin'
Year: 1969
Tracks: 11
Organ, electric bass. Charles Kynard is an organist whose jazz-funk leanings rival his predecessors and peers, though non eclipsing them. Solid, though never sporty. He too plays electric bass. Kynard's album Reelin' With the Feelin' has been sampled and appears on several acid nothingness releases.
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