Katy Perry is at the top of the Irish singles chart with 'I Kissed A Girl' for a second week.
The Script's 'The Man Who Can't Be Moved' climbs up unitary place to number deuce, swapping positions with Kid Rock's 'All Summer Long'. Rihanna's 'Disturbia' and Jordin Sparks's 'No Air' stick at fourth and fifth place respectively.
Meanwhile, Noah & The Whale's '5 Years Time' enters the cover ten for the number one time, climbing up unrivaled place from number eleven.
The Script's self-titled debut disc is at the top of the album chart for a third week. The Verve's Forth and Slipknot's All Hope Is Gone, both new entries, follow in second and third position respectively.
The upper side ten singles in entire:
1. (1) Katy Perry: 'I Kissed A Girl'
2. (3) The Script: 'The Man Who Can't Be Moved'
3. (2) Kid Rock: 'All Summer Long'
4. (4) Rihanna: 'Disturbia'
5. (5) Jordin Sparks ft. Chris Brown: 'No Air'
6. (6) Dizzee Rascal ft. Calvin Harris: 'Dance Wiv Me'
7. (8) The Verve: 'Love Is Noise'
8. (7) Basshunter: 'All I Ever Wanted'
9. (9) Coldplay: 'Viva La Vida'
10. (11) Noah & The Whale: '5 Years Time'
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Saturday, 30 August 2008
Thursday, 21 August 2008
Mp3 music: Present
 Artist: Present: mp3 download Genre(s): Rock Present's discography:  High Infidelity Year: 2001 Tracks: 9 Present is a Belgian ensemble formed by guitarist/composer Roger Trigaux. In 1974 Trigaux founded the chamber stone mathematical group Univers Zero with drummer Daniel Denis. Trigaux left hand Univers Zero in 1979 to practice Present with pianist Alain Rochette. Denis played in both Univers Zero and Present. Bassist Christian Genet played on the band's first LP, Triskaidekaphobie (fear of the number 13); Ferdinand Philippot played bass on the second LP, Le Poison Qui Rend Fou. After existence sleeping for years, Present was reformed by Trigaux in the mid-'90s; subsequent lineups have included some of the band's original members as serious as Roger Trigaux' logos Reginald on second guitar and American drummer Dave Kerman of the 5uu's and U Totem. The music of Present has a dark feel standardised to Univers Zero, just is more than rock-oriented. They receive a website at wWW.heurexacte.com/present. |
Monday, 11 August 2008
Ithdabquth Qliphoth
Artist: Ithdabquth Qliphoth
Genre(s):
Metal: Death,Black
Discography:
Demonic Crown Of Anticreation
Year: 2002
Tracks: 6
Obituary: Horst Stein
Wednesday, 2 July 2008
Tuesday, 24 June 2008
Rolling Stones - 44 Years Since Bill Became A Wyman
ON THIS DAY (June 24, 1964) ROLLING STONES member William Perks changed his name by deed poll to BILL WYMAN.
William used the the surname of one of his friends from his days in the RAF.
It was also on this day (June 24, 1964) that THE ROLLING STONES and their management team OLDHAM/EASTON first considered making the band a limited company over lunch at THE SAVOY HOTEL in LONDON.
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Thursday, 19 June 2008
Angelina Jolie - Jolie Prefers Sex Scenes With Pitt
ANGELINA JOLIE was reluctant to film sex scenes with JAMES MCAVOY in WANTED - because she prefers filming romps with partner BRAD PITT.
MCAvoy recently described filming sex scenes with Jolie as "sweaty and uncomfortable".
But Jolie is unfazed by the comments; she prefers to film sex scenes with her longtime beau Pitt after meeting on the set of Mr. and Mrs Smith.
She tells MTV.com, "Well, you know Brad was... I'll always prefer rolling around on the floor with him than any other man.
"You know, in general."
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Sag Deal Unlikely By Months End
Screen Actors Guild President Alan Rosenberg has conceded that a deal with the Alliance
of Motion Picture and Television Producers is unlikely to be concluded by June 30,
when the current contract expires. In an interview with Daily Variety, Rosenberg blamed
AFTRA for the slow-going negotiations. "Our progress has really slowed down ever
since AFTRA made its deal," he said. He added that no decision has been made about
taking a strike vote but that it will be made "fairly soon." In any case, he said, "We
can certainly work past the expiration date while we're still negotiating." On Wednesday
SAG held a Town Hall meeting in Hollywood where members received fact sheets blasting
the AFTRA deal. AFTRA later said in effect that the fact sheets misrepresented what was achieved.
It said that it would hold is own informational meetings for members about the contract
today (Thursday) and Monday.
12/06/2008
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T. Diabate with B. Sissoko
Artist: T. Diabate with B. Sissoko
Genre(s):
Ethnic
Discography:
New Ancient Strings
Year: 1999
Tracks: 8
Richard Williams on the great Bo Diddley
Back at the dawn of civilisation, when sexual intercourse had just begun and the big beat was emerging from the primordial slime, no self-respecting bunch of young English rhythm-and-blues hounds could call themselves a proper band if their repertoire didn't boast at least one Bo Diddley song. It might be Mona, or Roadrunner, or Pretty Thing, or You Can't Judge a Book. But as long as there was a song with that Bo Diddley beat, then credibility and respect were automatically conferred.
That famous rhythm is most easily explained through the cadence of a single spoken phrase. Say "shave-and-a-haircut (pause) two bits", and you have the single bar of 4/4 time which, repeated ad infinitum, gives you an approximation of what Diddley was up to.
His songs were learned from the precious pages of the holy writ: hard-to-find 45rpm singles, issued first on the black-and-silver London label, then on yellow-and-red Pye R&B. While your big sister was buying the latest from Ruby Murray or Russ Conway, these were your passport to the new world a-comin'. And, eventually, what you wanted to do was learn how to make this music for yourself.
Hundreds of us, eventually thousands, graduated from skiffle groups - a homemade guitar, a tea-chest bass, a washboard and Rock Island Line - to form groups dedicated to the new ideal represented by Bo Diddley's vinyl outpourings. Much more than even the hip-swivelling teen-hop sounds of Elvis Presley, Buddy Holly or Eddie Cochran, they represented a force that would carry us far away from the adult mores of postwar Britain. In the 1960s, I didn't join the Boy Scouts. I joined Bo Diddley.
Mick Jagger shook a pair of maracas, just like Diddley's accomplice, Jerome Green, as he howled Mona (I Need You Baby) with the young Rolling Stones. The Pretty Things, their fellow sharecroppers in the Thames delta, named themselves after another Diddley composition. Up in Newcastle, Eric Burdon and the Animals recorded something they called The Story of Bo Diddley. Teenage guitarists such as Jeff Beck and Jimmy Page heard the screeching hot-rod noises Diddley made with his souped-up axe at the beginning of Roadrunner and experienced a moment of transformation. When the TV show Ready Steady Go! organised a national talent competition for beat groups, it was won by an outfit called the Bo Street Runners.
For a drummer like me, in a band in 1964, the Diddley song was the highlight of any gig. You could abandon the fancy asymmetrical grip on your sticks normally associated with jazz drummers or classical percussionists, turn them around, and use the blunt ends to pile into the tom-toms. Forget the hipster snap of the snare drum, or the sizzle and crash of the cymbals. The raw Diddley beat was a tom-tom thing.
And what happened was that it induced dancers to move in a different way. For three or four minutes, they dropped into a deeper groove, getting in touch with a more fundamental set of instincts. It was the exactly the sort of thing that terrified a generation of parents: the soundtrack to a Dionysian orgy. Each song felt as though it could go on for ever.
In most of Diddley's songs, the chords never changed. The melodies were minimal and the words, although pithy and often pungent, were not the point. He could and did go further than "I'm a roadrunner, honey, and you can't keep up with me", but he never really needed to. What mattered was the beat, and the pioneering sounds of distortion that he wrung from his weird, rectangular-bodied electric guitar.
The songs were like mantras, and their incessant repetition and lack of dynamic variation lent them a kind of hypnotic power that was quite different from the other components of the standard R&B repertoire. Benny Spellman's Fortune Teller, John Lee Hooker's Dimples, Muddy Waters' Hoochie Coochie Man and Little Walter's My Babe were great numbers, coming on a hotline from R&B Central in New Orleans or Chicago. But they had elements of structural variety and decoration that seemed almost prissy. The source of a Diddley song seemed to be somewhere deep within the earth, close to the molten core.
The Diddley beat was a means of summoning thunder, and as such it seemed to hark back further than the recording studios of Chicago, further than the juke joints of the Mississippi delta - all the way back to the west African lands from which slaves had been transported, and to the music they made before their descendants got their hands on trumpets, pianos and electric guitars.
Let's get it absolutely straight: just like Diddley always said, he and Chuck Berry invented rock'n'roll. But while Berry was busy cleaning up his music by incorporating country music's storytelling and a pinch of jazz sophistication into his hugely successful songs, Diddley headed straight back to a primeval heartbeat that gave the music a feral allure that eventually crossed continents and all known frontiers of culture and class.
So, no arguments, the music was invented by black men. But when rock'n'roll came to be reinvented in the Britain of the early 1960s, it was mostly middle-class white boys who did it. Boys such as Mick Jagger, John Lennon and Pete Townshend, who grew up in homes where Handel, Gilbert & Sullivan, George Formby, Gracie Fields or Victor Silvester provided the soundtrack, but who came out of grammar schools and art colleges, responding to the transgressive power of music that could only be heard, like coded messages from another world, via the crackly signal of Radio Luxembourg, or, for a couple of hours each week, the Light Programme's Saturday Club.
Voices that had previously sung Anglican hymns in boy-soprano tones learned to rough themselves up in imitation of the offspring of Mississippi delta sharecroppers. The humble harmonica became an instrument on which notes could be bent and prolonged in imitation of the sound of a distant train whistle, heard through Georgia pines on a sultry summer night. And those of us with a set of drums learned the thrilling art of syncopation.
Diddley's beat, like his name, almost certainly had its origins in Africa. The name came from the diddley bow, a one-string violin made and played by plantation children. He didn't invent the beat - it was already known to some black musicians as the "hambone" rhythm - but he made it his own, and then made it ours.
There was more to Bo Diddley than that - our band, called the Junco Partners after the title of a song by a Louisiana man, James Wayne - performed a great song of his called Mama, Keep Your Big Mouth Shut, which had a completely different riff, though it kept the same rumbling menace (in the originator's hands, at least). But that basic rhythm - which also powers Bruce Springsteen's joyful She's the One, still a staple of the E Street Band's set - saw him through a 50-year career.
Diddley didn't get what he deserved. Like most black musicians of his era, he recorded for businessmen who believed they could get away with paying their black artists a royalty of no more than 2-3% of the price of the record, and that the precise accounting of those royalties was nobody's business but their own. For years, Diddley didn't have a clue that his records were even being sold outside the US. If he had received a proper royalty - say 12-15% - of every record sold under his name around the world, whether on 78, 45 or 33rpm vinyl disc, tape or compact disc, he would have been able to afford a brand new Cadillac every day of the year.
Those who learned from him were the ones who reaped the rewards. And when they heard of his death this week, every one of them - the ones with mansions, as well as those who let the drum kit go back to the hire-purchase company the day they got a proper job - should have felt a pang of conscience, along with the fathomless gratitude for a gift beyond price.
· Watch the best of Bo Diddley on YouTube blogs.guardian.co.uk/music
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Members of U2 selling Basquiat painting valued at $12 million
LONDON - Irish rockers U2 are selling a painting by American artist Jean-Michel Basquiat valued at up to $12 million, Sotheby's auction house said Thursday.
Sotheby's said "Untitled (Pecho/Oreja)" will go under the hammer in London on July 1 and is expected to fetch between $7.8 million and $12 million.
It was bought by members of U2 in 1989 after being spotted by bass player Adam Clayton in a New York gallery and has hung in their Dublin studio ever since.
Basquiat was one of the most prominent American artists of the 1980s, lauded for his strong use of colour and the social commentary in his work. He died of a heroin overdose in 1988, aged 27.
'Untitled (Pecho/Oreja)," painted when the artist was 22, combines a stylized human head, reminiscent of a ritual mask, covered in marks and doodles.
In May 2007 a Basquiat painting sold for $14.6 million in New York, a record for the artist.
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National Geographic has 'Grand' plan
Will distribute canyon documentary in 3-D worldwide
National Geographic will distribute "Grand Canyon: The Hidden Secrets" in 3-D to Imax and 3-D-ready digital theaters worldwide.
The 1984 2-D Imax documentary is a Vista Point Entertainment production for Destination Cinema. The film was written and helmed by Kieth Merrillcq.
Destination will oversee updates to the script and musical score and the conversion of the film to 3-D. National Geographic will sell the film to theaters through National Geographic Cinema Ventures' film distribution arm.
A release is slated for first-half 2009.
The film will be housed permanently at the Grand Canyon Imax Theater at the National Geographic Visitors Center in Grand Canyon, Ariz.
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Queen Latifah - Latifah Wants Kids
Rapper-turned-movie star QUEEN LATIFAH wants to have children.
The 38-year-old insists her biological clock has begun ticking, but admits she's not quite ready to become a mother just yet.
Latifah says, "There's the intention. I don't know when, but it's gonna happen eventually."
The Chicago star has always remained tight-lipped about her personal life, despite repeated claims she is dating her female personal trainer Jeanette Jenkins.
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Paquito d'Rivera Quintet
Artist: Paquito d'Rivera Quintet
Genre(s):
Jazz
Discography:
Live at the Blue Note
Year: 2000
Tracks: 9
Shirley Bassey
Artist: Shirley Bassey
Genre(s):
Pop
Other
Vocal
R&B: Soul
Dance
Easy Listening
Rock
Discography:
Get the Party Started (Remixes)
Year: 2007
Tracks: 3
Get The Party Started
Year: 2007
Tracks: 13
Legendary Performer (With The London Symphony Orchestr)
Year: 2004
Tracks: 20
Thank You for the Years
Year: 2003
Tracks: 22
Sings The Standards
Year: 2001
Tracks: 22
Love Album
Year: 2001
Tracks: 20
The Fabulous Shirley Bassey
Year: 2000
Tracks: 12
Shirley Bassey - The Greatest Hits: This Is My Life
Year: 2000
Tracks: 22
Diamonds Are Forever: the Remix Album
Year: 2000
Tracks: 10
Magic Is You: The Very Best of Shirley Bassey
Year: 1998
Tracks: 18
Sings the Movies
Year: 1995
Tracks: 14
Thought I'd Ring You EP
Year:
Tracks: 6
Known to Americans well-nigh for her belting rendering of the theme to Goldfinger, the 1964 edition in the James Bond series (as well as 1971's Diamonds Are Forever and 1979's Moonraker), Shirley Bassey was one of the most popular female vocalists in Britain during the net half of the twentieth century. Known as Bassey the Belter and as well the Tigress of Tiger Bay, her other career in touring shows and floorshow brought her a recording contract with Philips by the late '50s. After stretch the round top of the British charts in 1959 with "As I Love You" and later "Strive for the Stars/Climb Every Mountain," Bassey was tapped to swing the musical theme song to the third James Bond vehicle. Her voice, bodacious and aphrodisiacal, conveyed the James Bond myth utterly and became a big hit in America. Though later graph placings in the U.S. were few, she continued to do well in Great Britain, France and the Netherlands into the mid-'70s.
Born in January 1937 in Tiger Bay, Cardiff, Wales, Shirley Bassey was the youngest of vII children. Her parents, a Nigerian panama and an English woman, divorced in front she was trey geezerhood old, but they kept the family together for the most part, and Shirley was able to blab duets with her pal at kinsperson get-togethers. After finishing school, she establish a job at a local factory, and earned extra money singing at men's clubs after-hours. Bassey traveled more or less the land in revues during the early '50s, and made her great breakout in 1955 at a London Christmas show apt by comedian Al Read (though it was promoted by bandleader Jack Hylton, world Health Organization had caught Bassey's act at the nearby Albany Club). Soon after, Shirley Bassey began appearance in Read's revue, Such Is Life. The show ran for o'er a year, and gained her a recording shorten for Philips Records. "Banana Boat Song" hit the British Top Ten in early 1957, followed by her number one hits, 1959's "As I Love You" and 1961's "Reach for the Stars/Climb Every Mountain." A 1962 pairing with adapter Nelson Riddle increased her prestigiousness in America, and a vaunted resilient prove gained her headlining floater in both New York and Las Vegas during the early '60s. Popular recognition in the United States came in early 1965, when "Goldfinger" make number octad in the American charts, instantaneously becoming her signature vocal across the Atlantic. (Queerly though, it lost even the Top 20 in Great Britain.)
Bassey's hits in the U.K. continued into the mid-'70s, lED by Top Ten entries such as "Something," "For All We Know" and "Never Never Never." After the crowning achievement of her career, a 1977 Britannia Award for Best Female Solo Singer in the Last 50 Years, Shirley Bassey gained her own highly rated BBC-TV show in the later '70s, just step by step slowed dispirited her in use agenda during the side by side decennium. Semi-retired to Switzerland by 1981, she still emerged quite oftentimes, spurred by the recording of several telecasting specials and LPs, including a 1987 date with the synth-pop radical Yello. Bassey became much more visible during the '90s, opening a nightclub in Cardiff, and touring the world several times.
Noisehunter
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