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The Scottish group's "Make Another World" is so straightforwardly "rock" it's almost baffling--where are the postpunk riffs? Who lost the house beats? Framed around muscular guitars, lovelorn lyrics, and crisp drums, the LP executes a neat end-around of all things "scene."
Blackmore's Night: "Just Call My Name"
Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music. ~ Bret Adams, All Music Guide
Blackmore's Night:"Olde Mill Inn"
Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music. ~ Bret Adams, All Music Guide
2009 Mercedes Benz SLK350 is a peppy roadster with an interesting array of climate-control features not seen in a convertible before.
When Brit Danilel was in his metal band, Requiem, the melody for "Sister Jack" was furest from his mind. Now Spoon beings us a hand-clapping sing-along with spacey guitar riffs and a beat that will make you stomp your feet all night long.
Their first full-length CD, Datarock Datarock (Nettwerk Music Group June 12, ), takes the feel-good vibe of "Computer Camp Love," turns it up to 11, and blasts a power chord of throwback nostalgia that'll knock you straight out of your Reebok Pumps. Love letters to Laurie Anderson ("Laurie") and references to Close Encounters of the Third Kind ("Princess") are just the tip of the iceberg. The album's infectious first single, "Fa Fa Fa," pairs up dance-rock drums with funk-strummed guitars and a chorus that'll have you jonesing for the nearest copy of Talking Heads' 77. "Ugly Primadonna," meanwhile, is pure four/four Groovebox robotics and space age Casiotone melodies.†† On "I Will Always Remember You" (featuring Annie), Fredrik does his best Wayne Newton, verbally undressing you with his velvety pipes over a bed of freeze-dried strings before formally "sexing you down" on "Sex Me Up." But more so than any other track on the album, the opening "Bulldozer" perhaps best encapsulates the band's true modus operandi. Whereas Kraftwerk glorified the Trans-Europe Express and the Tour de France, Datarock prefer to sing the praises of a more proletarian method of transportation: the BMX. Which, according to the Fredrik and Ket-Ill, "is better than sex."
Inspired by a true story, the young girl that inspired Ed Silver to write this song passed away from a rare form of leukemia. "She was so brave and so strong. She inspired in me a strength that I never new I had," states Ed Silver. The proceeds from this song and video will benefit The Children?s Miracle Network. "Children's Miracle Network is the alliance of premier children's hospitals. Every year, Children's Miracle Network hospitals treat 17 million children for every disease and injury imaginable." "Children's Miracle Network hospitals impact the lives of more children than any other children's organization in the world." Julie was cared for by a children?s hospital. If you would like to donate to The Children?s Miracle Network visit www.edwardsilver.com for links to The Children?s Miracle Network. Be sure to let them know you saw the video, just so we can judge the impact the video has had.
Biblical Proof of UFOs: "You Would If You Loved Me"
Classic rock imagery, incredible performances and heavy riffs combine in the debut video for LA favorites Biblical Proof Of UFO's.
Tom Waits: "God's Away on Business"
"Real Gone" is the unpredictable follow-up to the atmospheric and conceptual "Alice "and "Blood Money," two albums that TOM WAITS released simultaneously in the spring of 2002.
In an exciting departure from the critically acclaimed Alice and Blood Money, Waits? fevered imagination has spawned a new musical hybrid, grafting together worlds both sonic and ethnic from musical traditions both old and new. The 15 track CD features: primal blues, Jamaican rock-steady grooves, rhythms and melodies both African and Latin, what Waits calls ?cubist funk.?
In that sonic cubism, Waits ingeniously finds common ground with hip hop?s cut and paste aesthetic and incorporates some of its elements into his approach. Many of the tracks on Real Gone were built on Waits? ?human beatboxing? on a cassette recorder in his bathroom and bringing those tapes into the studio to have the band play over them. As a result, there are no drums on many of the most driving tracks as his voice provides all of the necessary propulsions. And for the first time, there is no piano.
This guy can knows how to rock a heavy beat. Who needs a drum set?
