Artist: Turbo
Genre(s):
Rock
Metal: Heavy
Discography:
One Way
Year: 1992
Tracks: 7
Dead End
Year: 1990
Tracks: 11
Epidemic
Year: 1989
Tracks: 9
Last Warrior
Year: 1988
Tracks: 8
Benassi Bros
Wednesday 28 May 2008
Turbo
Artist: Turbo
Genre(s):
Rock
Metal: Heavy
Discography:
One Way
Year: 1992
Tracks: 7
Dead End
Year: 1990
Tracks: 11
Epidemic
Year: 1989
Tracks: 9
Last Warrior
Year: 1988
Tracks: 8
Benassi Bros
Sunday 25 May 2008
Snipes gets bail pending appeal in tax case
Actor Wesley Snipes has been granted bail pending an appeal of his conviction and sentencing last month to three years in prison for failing to file income tax returns for 1999 through 2001.
Jay-Z hits back at Noel Gallagher over Glastonbury comments
Jay-Z has hit back at Noel Gallagher for being narrow-minded after the Oasis star said he was “wrong” for Glastonbury.
He says, “We don�t play guitars, Noel, but hip-hop has put in its work like any other form of music.
“This headline show is just a natural progression. Rap music is still evolving.
“From Afrika Bambaataa DJ-ing in the Bronx and Run-DMC going platinum, to Jazzy Jeff and The Fresh Prince winning the first rap Grammy, I�m just next in the line.
See Also
Accuser
Artist: Accuser
Genre(s):
Rock: Thrash
Rock
Discography:
Reflections
Year: 1993
Tracks: 9
Repent
Year: 1992
Tracks: 9
Double Talk
Year: 1991
Tracks: 11
Taken By The Throat
Year: 1990
Tracks: 10
Who Dominates Who?
Year: 1989
Tracks: 8
Experimental Errors
Year: 1988
Tracks: 6
The Conviction
Year: 1987
Tracks: 7
Germany's Accuser was formed in the townsfolk of Kreuztal and followed in the wake of that country's first wave of successful stop number metal bands (Kreator, Destruction, Sodom, etc.). Quickly progressing from the full-out thrash of their early efforts (1987's The Conviction and 1988's Experimental Errors) to a more technical style made popular in the Bay Area scene (1989's Who Dominates Who?, 1991's Double Talk, and 1992's Repent), the band proven itself technically gifted, only, with very rare exceptions, inspirationally challenged; climax across as something of a poor man's Coroner. By the time of 1994's Reflections album, and especially the following year's Taken by the Throat, Accuser had evolved toward a modern death metallic element level-headed cognate to Pantera and Machine Head, and adoptive a more rhythmic-based, pseudo-tribal approach reminiscent of Sepultura; over again highly competent, only hardly original fare. Having finally exhausted their desire to emulate stream trends, Accuser quietly washed-out from populace view in the ensuing long time.
Groovenics
Cancer
Artist: Cancer
Genre(s):
Metal: Death,Black
Rock
Discography:
Spirit In Flames
Year: 2005
Tracks: 9
To The Gory End (Reissue)
Year: 2004
Tracks: 9
Sins Of The Mankind
Year: 1993
Tracks: 8
To The Gory End
Year: 1990
Tracks: 9
Vocalist John Walker, bassist Ian Buchanan, and drummer Carl Stokes started Cancer in the late '80s as a fell, simplistic death metallic element threesome. Debuting with the unskilled To the Gory End, their lineup got a injection in the arm when ex-Obituary guitarist James Murphy sign-language on in 1992 for their technically impressive Death Shall Rise album. Although Murphy's stay was a short one, his standing in the decease metal mankind gave the band sufficiency notoriety to continue on, releasing 1993's The Sins of Mankind and 1995's Black Faith with guitarist Barry Savage. The isthmus has since disappeared, false to be disbanded subsequently going away East West Records after their last release.
Neil Diamond - Diamond Takes Part In Hollywood Rooftop Skit
NEIL DIAMOND was game for a laugh on Friday (23May08) as he watched U.S. funnyman JIMMY KIMMEL butcher his SWEET CAROLINE hit on a rooftop in Hollywood for fans down below.
Kimmel, a big fan of the crooner, told Diamond, who was appearing on his late night chat show, that he'd always dreamed of becoming a Neil Diamond impersonator.
In a skit filmed before the show aired on Friday (23May08) night, Diamond gave Kimmel tips how to be just like him and then watched aghast as the comedian, performing as Theo Zirconia, belted out one of the singer's most famous tunes on the roof of his El Capitan studio overlooking Hollywood Boulevard.
The performance ended with fans on the street below booing Kimmel and the police arriving to arrest the funnyman. A chuckling Diamond then took over the microphone to complete his anthem, much to the delight of music lovers below.
See Also
Paris Hilton - Hilton Denies Madden Engagement
PARIS HILTON has denied she has secretly become engaged to rocker BENJI MADDEN.
The socialite fuelled rumours of impending nuptials after she was spotted wearing a two-banded diamond ring on her wedding finger.
Hilton's on/off best friend Nicole Richie is reportedly set to wed Madden's twin brother Joel this summer (08), after the birth of their daughter Harlow in January (08).
And since the hotel heiress has been romantically involved with Benji, the couple has been dogged by rumours they are to follow suit and tie the knot.
But Hilton insists that although the pair has talked about marriage - she denies the ring means they are set to wed.
She tells People.com, "No, it's just a present. He's sweet.
"We want to stay together forever. I wouldn't do a Vegas (wedding). I don't know where or when but I do want it to be romantic."
See Also
Live: Christian McBride's 'The Movement Revisited' at Disney Hall
There was a remarkable atmosphere of synchronicity during the performance of Christian McBride's "The Movement Revisited" at Walt Disney Concert Hall on Friday night. And maybe a trace of irony as well.
The four-section suite for big jazz band, small jazz group, gospel choir and narrators focused its segments on the words, the memory and the legacy of the Rev. Martin Luther King Jr., Rosa Parks, Malcolm X and Muhammad Ali. Performed at a time when the Democratic Party appears poised to choose Barack Obama as its presidential nominee, both the linkage to the civil rights movement of the '50s and '60s as well as the fact that it's taken at least four decades since that era for the nomination of an African American to become a possibility were constant subtexts to the performance.
McBride -- who is both a world-class jazz bassist and the Los Angeles Philharmonic's current creative chair for jazz -- was first commissioned to write "The Movement Revisited" 10 years ago by the Portland Arts Society as a two-part work for a small jazz group and a gospel choir. His first response, he explained in his prologue to the performance, was to say no: "I had no idea how to write for a choir, and I'd never written lyrics for anything." But the society persisted, McBride's composition skills matured, the concept expanded, the instrumentation grew larger, and it all came together in this constantly engaging presentation.
The connection between jazz and spoken word reaches back at least as far as the beatnik poetry and jazz performances of the 1950s. One could also make a case for the long historical presence of music -- most of it drawing upon the same roots that nourished jazz -- in African American churches.
McBride drew upon both those sources, sometimes applying the spontaneity of improvisation, sometimes unleashing the inspirational sounds of gospel voices, supporting it all with massed big band textures and a propulsive rhythm section (often driving the latter with his own big-toned, articulate bass playing). He shaped each of the movements -- "Sister Rosa (Rosa Parks)," "Brother Malcolm (Malcolm X)," "Rumble in the Jungle (Muhammad Ali)" and "A View From the Mountaintop (Dr. Martin Luther King, Jr.)" -- to musically characterize aspects of their subjects or their accomplishments.
Loretta Devine's touching readings of the words of Rosa Parks were underscored by the spirited phrases of "Freedom!" sung by the St. James Sacred Nation Concert Choir. Adding to the energy, tenor saxophonist Ron Blake tossed in inspiring, between-phrase accents.
The Malcolm X segment, narrated by Carl Lumbly, also featured Blake. This time, however, McBride fashioned a dark, intense melody that immediately called up references to the probing, mid-'60s playing of John Coltrane. While there was no literal connection between the two, the subliminal association -- Coltrane's passionate expansion of jazz horizons and Malcolm X's similar insistence upon shifting the world's view of racism -- was unavoidable.
Muhammad Ali's often sardonically humorous comments were delivered with great élan by James Avery. And the "Rumble in the Jungle" -- a reference to the 1974 bout between Ali and George Foreman -- was paralleled by surging percussion and a spirited tenor saxophone battle between Blake and Rickey Woodard.
For the King segment, narrated in inspiring fashion by Wendell Pierce, the rhythm was driven by a marching band snare drum beat, played with inexorable, growing intensity by drummer Terreon Gully. As Pierce hit the high points of King's classic "I Have a Dream," McBride's rich, big band ensemble textures drove the evening to its inevitable climax, concluding a work that was admirable -- to paraphrase King -- for both the content of its music and the character of its message.
The four-section suite for big jazz band, small jazz group, gospel choir and narrators focused its segments on the words, the memory and the legacy of the Rev. Martin Luther King Jr., Rosa Parks, Malcolm X and Muhammad Ali. Performed at a time when the Democratic Party appears poised to choose Barack Obama as its presidential nominee, both the linkage to the civil rights movement of the '50s and '60s as well as the fact that it's taken at least four decades since that era for the nomination of an African American to become a possibility were constant subtexts to the performance.
McBride -- who is both a world-class jazz bassist and the Los Angeles Philharmonic's current creative chair for jazz -- was first commissioned to write "The Movement Revisited" 10 years ago by the Portland Arts Society as a two-part work for a small jazz group and a gospel choir. His first response, he explained in his prologue to the performance, was to say no: "I had no idea how to write for a choir, and I'd never written lyrics for anything." But the society persisted, McBride's composition skills matured, the concept expanded, the instrumentation grew larger, and it all came together in this constantly engaging presentation.
The connection between jazz and spoken word reaches back at least as far as the beatnik poetry and jazz performances of the 1950s. One could also make a case for the long historical presence of music -- most of it drawing upon the same roots that nourished jazz -- in African American churches.
McBride drew upon both those sources, sometimes applying the spontaneity of improvisation, sometimes unleashing the inspirational sounds of gospel voices, supporting it all with massed big band textures and a propulsive rhythm section (often driving the latter with his own big-toned, articulate bass playing). He shaped each of the movements -- "Sister Rosa (Rosa Parks)," "Brother Malcolm (Malcolm X)," "Rumble in the Jungle (Muhammad Ali)" and "A View From the Mountaintop (Dr. Martin Luther King, Jr.)" -- to musically characterize aspects of their subjects or their accomplishments.
Loretta Devine's touching readings of the words of Rosa Parks were underscored by the spirited phrases of "Freedom!" sung by the St. James Sacred Nation Concert Choir. Adding to the energy, tenor saxophonist Ron Blake tossed in inspiring, between-phrase accents.
The Malcolm X segment, narrated by Carl Lumbly, also featured Blake. This time, however, McBride fashioned a dark, intense melody that immediately called up references to the probing, mid-'60s playing of John Coltrane. While there was no literal connection between the two, the subliminal association -- Coltrane's passionate expansion of jazz horizons and Malcolm X's similar insistence upon shifting the world's view of racism -- was unavoidable.
Muhammad Ali's often sardonically humorous comments were delivered with great élan by James Avery. And the "Rumble in the Jungle" -- a reference to the 1974 bout between Ali and George Foreman -- was paralleled by surging percussion and a spirited tenor saxophone battle between Blake and Rickey Woodard.
For the King segment, narrated in inspiring fashion by Wendell Pierce, the rhythm was driven by a marching band snare drum beat, played with inexorable, growing intensity by drummer Terreon Gully. As Pierce hit the high points of King's classic "I Have a Dream," McBride's rich, big band ensemble textures drove the evening to its inevitable climax, concluding a work that was admirable -- to paraphrase King -- for both the content of its music and the character of its message.
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