| May 7, 2006 @ 11:19 AM |
What are you listening to right now?
|
|
nightrider3281
Posts: 752
|
too much on my heart: the statler brothers
|
|
  |
|
| May 7, 2006 @ 2:39 PM |
What are you listening to right now? |
|
vnnilagrila1959
Posts: 75
|
 gOTTA GIVE PROPS TO THE WOLF!! HOWLIN'WOLF greatest blues anywhere!! [ 
|
| |
|
| May 7, 2006 @ 4:28 PM |
What are you listening to right now?
|
|
babyfairy
Posts: 141
|
DJ Trashy & Tekk... Set Free.... 
|
|
| |
|
| May 8, 2006 @ 12:50 AM |
What are you listening to right now? |
|
kirkgrniis
Posts: 130
|
Disturbed : 10,000 Fists......
Waitin to get new Queensryche and Tool.....
|
| |
|
| May 8, 2006 @ 1:50 AM |
What are you listening to right now?
|
|
babyfairy
Posts: 141
|
Seether: Disclaimer II
the new Tool is Cool
|
|
| |
|
| May 8, 2006 @ 6:16 AM |
What are you listening to right now? |
|
Palomino
Posts: 7,503
|
Shinedown ~ "I Dare You"
|
| |
|
| May 8, 2006 @ 7:08 PM |
What are you listening to right now?
|
|
MotownManiax
Posts: 7,881
|
Alice Cooper "Love It To Death" album
Review by Greg Prato, All Music Guide
Alice Cooper's third album, 1971's Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid-rock affairs, and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction.
The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time, and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream," as well as the ass-kicking "Long Way to Go," and a pair of epics — the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" — showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group.
|
|
| |
|
| May 9, 2006 @ 6:06 PM |
What are you listening to right now? |
|
Always_Striving
Posts: 7,371
|
Kernkraft 400 ~ Zombie Nation
This is the theme song for our local hockey team: The Everett SilverTips 
|
| |
|
| May 9, 2006 @ 6:22 PM |
What are you listening to right now?
|
|
soul_decisions
Posts: 865
|
the humming of my puter 
|
|
| |
|
| May 9, 2006 @ 6:26 PM |
What are you listening to right now? |
|
nightrider3281
Posts: 752
|
the sound of my ac
|
| |
|
| May 9, 2006 @ 8:07 PM |
What are you listening to right now?
|
|
Michael2972
Posts: 189
|
Get Stoned--Hinder
|
|
| |
|
| May 9, 2006 @ 9:17 PM |
What are you listening to right now? |
|
Always_Striving
Posts: 7,371
|
Turn Up The Radio ~ Autograph
|
| |
|
| May 9, 2006 @ 9:32 PM |
What are you listening to right now?
|
|
barbe53
Posts: 16
|
Queen - Killer Queen
|
|
| |
|
| May 10, 2006 @ 7:42 AM |
What are you listening to right now? |
|
MotownManiax
Posts: 7,881
|
Mink DeVille "Le Chat Bleu" album (Released 1980)
Review by Thom Jurek, All Music Guide
After the critical acclaim of their self-titled debut and Return to Magenta in 1977 and 1978, respectively, Willy DeVille and his band took another look at the sassy, street-tough rock & roll they'd dished up and took the first step toward the swinging Spanish soul the band's subsequent albums would strive for and the crooning R&B heartbreaker DeVille himself would become as a solo artist.
Le Chat Bleu is angel-headed hipster rock. The Doc Pomus influence on the opening track, "This Must Be the Night," with its cascading harmonies and 1950s girl group melodies, is a doo wop fantasy for the punk age. That influence was more than that as Pomus and Willy DeVille co-wrote three songs together for this stellar effort. Far more reverent than the Ramones and nowhere near Robert Gordon's stilted revivalism, Mink DeVille could sing and play rock & roll sweetly and razor sharp, kind of like a lollipop on the edge of a dagger.
The first of the DeVille/Pomus soul ballads is included here. "That World Outside," with producer Steve Douglas' lilting tenor saxophone that twists itself around each line and breezes through the chorus, is pure Pomus, with DeVille carrying a vocal he'd never attempted before. This was the beginning of something for the band, and the end of something else. Piss and vinegar were not enough to fuel the band's muse any longer — it also took polish, sensitivity, and a deep commitment to subtlety and drama, and this ballad contains them in spades. The other two, "You Just Keep Holdin' On" and "Just to Walk That Little Girl Home," burn as brightly. Of the rockers, "Savoir Faire" and "Lipstick Traces" contain the wooly garage stomp of the earlier records and keep their switchblade honesty and punky edge. Contrary to popular belief, this album is not the sound of a band losing its innocence as much as it is the sound of a rock & roll band finding its identity.
Biography of Willy DeVille, by Craig Harris, All Music Guide
The roots of American music, including the blues, R&B, and Cajun music, gave Willy DeVille's (born William Borsey) late-'70s punk band, Mink DeVille, its unique flavor. A quarter of a century later, DeVille continued to blend musical traditions and postmodern intensity. A self-taught guitarist, DeVille found his early inspiration in the blues of John Hammond Jr., Muddy Waters, and John Lee Hooker. Determined to become a musician, he moved to London in 1971, hoping to latch on with a British band. Frustrated by his lack of success, he returned to the United States. Temporarily settling in San Francisco, he spent most of 1972 developing his stage persona in Bay Area clubs. Returning to New York, DeVille was in the right place at the right time. Forming a band, Dilly DeSade & the Marquis, later renamed Mink DeVille, with bassist Ruben Siguenza and drummer T.R. "Manfred" Allen Jr., he found his roots-oriented rock welcome in the city's burgeoning punk scene. When the independent Omfug label included three of their songs on the multi-artist compilation Live at CBGB's, recorded at the influential New York punk club, their punk connection was assured. With Atlantic acquiring national distribution rights to the album, Mink DeVille became one of the country's top punk bands.
Willy DeVille has remained active since the breakup of Mink DeVille in the mid-'80s. His debut solo album, Miracle, was produced in 1987 by Mark Knopfler of Dire Straits, and included such guests as guitarist Chet Atkins. One tune, "Storybook Love," used in Knopfler's score for the film The Princess Bride, was nominated for an Academy Award. Residing in New Orleans since the early '90s, DeVille featured the city's leading musicians, including Dr. John, Allen Toussaint, and Eddie Bo, on his 1990 album, Victory Mixture. New Orleans-style rhythms remained essential on his 1996 albums, Big Easy Fantasy and Loup Garou. Subsequent releases have focused on DeVille's live shows. Released in 2001, Live combined performances from the Bottom Line in New York and the Olympia Club in Paris. Live in Berlin, released two years later, featured the accompaniment of Seth Farber (piano, background vocals), Boris Kinberg (percussion), Freddy Koella (guitar, mandolin, vocals), David Keyes (bass, background vocals), and YaDonna Wise (background vocals).
----------------------------
Great artist! 
|
| |
|
| May 10, 2006 @ 9:53 PM |
What are you listening to right now?
|
|
Always_Striving
Posts: 7,371
|
Wicked Game ~ Chris Isaak
also
Devil Woman ~ Clff Richards
[Edited on 5
|
|
| |
|
| May 12, 2006 @ 1:14 PM |
What are you listening to right now? |
|
Icillewolf
Posts: 117
|
Nightwish - Once
An unbelievable combination of Metal/Gothic/Operetta........ Somethin' Wagner would have put together if he'd have been able to get his paws on a Mesa Boogie and a Jackson Soloist.....
|
| |
|
| May 12, 2006 @ 6:18 PM |
What are you listening to right now?
|
|
MotownManiax
Posts: 7,881
|
Wreckless Eric "Big Smash" double LP (1980)
Biography by Stephen Thomas Erlewine, All Music Guide
Wreckless Eric gained notoriety as part of Stiff Records' highly eccentric roster of punk and new wave artists during the late '70s. With his whiny, slurred c***ney voice, Eric couldn't carry a tune, but that didn't prevent him from being an enjoyable, if limited, rock & roller. With his early Stiff singles "Whole Wide World," "Semaphore Signals," and "Take the Cash (K.A.S.H.)," Eric bashed out a series of ragged, chaotic, three-chord punk-pop singles driven by his pent-up energy and a knack for melodic pop hooks. Wreckless Eric never had a big pop hit, but his engaging sense of humor and fondness for simple rock & roll helped make him a cult figure who continued to have a following into the '90s.
Born Eric Goulden in Newhaven, Sussex, England, Wreckless Eric became interested in music through the pub rock scene of the mid-'70s. Once punk emerged in the late '70s, he became attracted to its amateurish sense of freedom, and his music soon reflected his fascination with the music. Stiff Records signed him in 1977 and had Nick Lowe produce Eric's debut single, "Whole Wide World"/"Semaphore Singles." In addition to producing the record, Lowe played most of the instruments on the single. "Whole Wide World" received positive reviews and became a moderate hit in the punk underground, but what made Wreckless Eric infamous were his performances on the Live Stiffs package tours. On both of the Live Stiff tours, Eric earned headlines in the U.K. press for his ridiculous drunken antics, which occurred as frequently on-stage as they did behind the scenes. His 1978 eponymous debut had the same boozy sense of charm, but his second album, The Wonderful World of Wreckless Eric (1979), demonstrated a previously unknown musical versatility. However, the album didn't receive much attention after its release, primarily because Stiff was concentrating their efforts on Ian Dury and Madness, as well as a variety of half-baked marketing schemes. Wreckless Eric fashioned his third album, Big Smash, as a commercial breakthrough, but the record was poorly received and neglected by Stiff, prompting him to quit the music industry in the early '80s.
After spending several years in retirement, Wreckless Eric returned to music in 1985 with Captains of Industry, a group he formed with several former members of Ian Dury's Blockheads. The group released a record called A Roomful of Monkeys on Go! Discs before disbanding. The following year, Eric formed the Len Bright Combo with bassist Russ Wilkins and drummer Bruce Brand, who had both played with the Milkshakes. The Len Bright Combo released two albums in 1986 before disbanding. Shortly after the group's breakup, Eric moved to France, where he released Le Beat Group Electrique in 1989. By the early '80s, Wreckless Eric had developed a more subdued pop direction which was often compared to that of Jonathan Richman. Throughout the '90s, he released records and performed in France, occasionally venturing to England and other parts of Europe.
|
|
| |
|
| May 13, 2006 @ 4:05 PM |
What are you listening to right now? |
|
MotownManiax
Posts: 7,881
|
"He'll Never Love You Like I Do" The Spinners
|
| |
|
| May 13, 2006 @ 8:39 PM |
What are you listening to right now?
|
|
Classy_Blonde
Posts: 6,034
|
Bryan Adams
Waking Up the Neighbors
"Do I have to Say the Words?", is my favorite song on this album. Brings back memories of the past. Very romantic. 
|
|
| |
|
| May 13, 2006 @ 8:58 PM |
What are you listening to right now? |
|
Lee_Danger
Posts: 4,505
|
If Everyone Cared by Nickelback
|
| |
|
|
|
|
|