 Artist: Iggy Pop: mp3 download Genre(s): Alternative Punk Other Rock Soundtrack Rock: Punk-Rock New Age ROck: Alternative Iggy Pop's discography:  A Million In Prizes: The Anthology (CD 2) Year: 2005 Tracks: 19  A Million In Prizes: The Anthology (CD 1) Year: 2005 Tracks: 19  Skull Ring Year: 2003 Tracks: 16  Beat Em Up Year: 2001 Tracks: 15  Avenue B Year: 1999 Tracks: 15  Trainspotting Soundtrack Year: 1996 Tracks: 14  Naughty Little Doggie Year: 1996 Tracks: 10  We are not talking about commercial shit Year: 1995 Tracks: 14  Wild Animal Year: 1993 Tracks: 12  Sister Midnight Year: 1993 Tracks: 12  American Caesar Year: 1993 Tracks: 17  Cold Metal (Live USA '88) Year: 1992 Tracks: 6  Cold Metal Year: 1992 Tracks: 6  Zombie Birdhouse Year: 1991 Tracks: 13  Brick By Brick Year: 1990 Tracks: 14  King Biscuit Flower's Hour Year: 1988 Tracks: 17  Instinct Year: 1988 Tracks: 10  Blah-Blah-Blah Year: 1986 Tracks: 10  Party Year: 1981 Tracks: 10  Soldier Year: 1980 Tracks: 11  New Values Year: 1979 Tracks: 12  TV Eye - Live '77 Year: 1978 Tracks: 8  Tv Eye Year: 1978 Tracks: 8  The Idiot Year: 1977 Tracks: 8  Lust For Life Year: 1977 Tracks: 9  Metallic KO Year: 1976 Tracks: 10 There's a reason why many prospect Iggy Pop the godfather of tinder -- every single tinder band of the past and present has either knowingly or unknowingly borrowed a affair or two from Pop and his late-'60s/early-'70s dance band, the Stooges. Born on April 21, 1947, in Muskegon, MI, James Newell Osterberg was elevated by his parents (his military chaplain was an English instructor) in a trailer park close to Ann Arbor, in nearby Ypsilanti. Intrigued by stone & undulate (as well as such nonmusical, humdrum, and automatically skillful sounds as his father's electrical razor and the local motorcar assemblage plants in Detroit), Osterberg began playing drums and formed his start band, the Iguanas, in the early '60s. Via the Rolling Stones, Osterberg discovered the megrims, forming a likewise styled turnout, called the Prime Movers, upon graduating from heights schoolhouse in 1965. When a brief stint at the University of Michigan didn't work out, Osterberg affected to Chicago, playing drums alongside bluesmen. Merely his true love was placid rock & roll and briefly later reversive to Ann Arbor, Osterberg decided to form a rock band, but this time, he would leave behind the drums behind and be the frontman (divine by the Velvet Underground's Lou Reed and the Doors' Jim Morrison). He tested to find the right musicians wHO shared his like musical vision: to create a striation whose medicine would be primordial, sexually charged, strong-growing, and repetitive (exploitation his early electric razor/car constitute memories for character reference). In 1967, he hooked up with an old friend from his senior high school schooltime days, guitar player Ron Asheton, wHO also brought along his drummer brother Scott and bassist Dave Alexander, forming the Psychedelic Stooges. Although it would take a piece for their sound to colloidal gel -- they experimented with such nontraditional instruments as void rock oil drums, vacuums, and other objects before retuning to their various instruments -- the group go in dead with such other high-energy Detroit bands as the MC5, becoming a local attraction. It was around this time that the group shortened their name to the Stooges, and Osterberg changed his stagecoach name to Iggy Pop. With the constitute alteration, Pop became a man obsessed onstage -- expiration into the crowd nightly to confront members of the audience and on the job himself into such a delirium that he would be bleeding by the end of the night from assorted nicks and scratches. Elektra Records sign-language the quatern in 1968, issue their self-titled debut a year later and a followup, Play House, in 1970. Although both records sold seedy upon waiver, both take become rock classics and tin can be pointed to as the prescribed first of what would turn known as thug john Rock. The grouping was dropped from their record book society in 1971 due to the public's neutrality and the group's ontogeny addictions to concentrated drugs (and to boot in Pop's case, continuous death-defying acts), leading to the group's breakup the like year. But Stooges fan David Bowie tracked down Pop and convinced the newly blank and somber vocaliser to restart his career. Pop enlisted guitar player James Williamson (wHO was briefly a second guitarist for the Stooges ahead their dissolution) and, after the pair sign-language to Bowie's Mainman management party and resettled to England, eventually reunited with the Asheton brothers (with Ron moving from the six-string to the freshwater bass). Sign-language by Columbia Records and hoping to follow in Bowie's footsteps toward a major commercial breakthrough, the Stooges penned some other thug greco-Roman, the brutally explosive Raw Power. Pop's plan for the Stooges' third release overall would be to create a phonograph recording that would be so all over the top sonically that it would in reality smart you when it poured out of the speakers. Although it crataegus laevigata not have been that extreme, it came pretty close (with Bowie sign-language on as the manufacturer), just so far over again, the album sank without a trace. By 1974, Pop and to the highest degree of the Stooges were strung out over again on drugs, and with their asterisk fading, the isthmus called it quits for a moment (and last) time. After outlay a brief spell homeless on the streets of Hollywood (during which time at that place was an abortive effort to variety a isthmus with Pop and sometime Doors keyboardist Ray Manzarek), Pop checked himself into the Neuropsychiatric Institute in Los Angeles. During his quell at the hospital, Pop made an endeavour at committal to writing and recording some new tunes with Williamson, only when no labels expressed interest, Pop and Williamson went their split shipway as well. (Completed demos of the roger Sessions would surface on the Kill City spill in 1977; they would likewise appear on the 2005 compilation Penetration, which likewise featured a number of widely circulated demos, outtakes, and flip-flop mixes from the Raw Power sessions.) During his hospital stay, another old friend came to visit him: David Bowie. Bowie (whose life history was inactive in high gear) offered to take Pop on the road with him during his tour in support of Post to Station. The pair got along so well that they both touched to Berlin in late 1976, during which clock time Bowie helped Pop stop up a solo record deal with RCA. Bowie was interested in European electronic rock (Kraftwerk, Can, etc.) and admitted by and by that he exploited Pop as a musical guinea pig on such releases as The Idiot and Lust for Life (both issued in 1977 and produced/co-written by Bowie). Both albums sold better than his premature efforts with the Stooges (particularly in the U.K., where Pop was looked upon as an picture by the burgeoning punk tilt movement) as Bowie joined Pop on his public tour as a keyboardist. Shortly thereafter, a surprisingly muddy sounding live album was culled from Pop's most recent tour, coroneted TV Eye (1977 Live). It was also around this time that Pop severed his ties with Bowie, impinging out on his possess. Sign language on with some other unexampled label (Arista), Pop reunited once more with James Williamson for 1979's New Values, an album that stirred cancelled a string of releases that were for the most percentage inconsistent and musically confounded (it appeared as though Pop was trying to reinvent himself as a new falter): 1980's Soldier, 1981's Company, and 1982's Zombi Birdhouse. Also in 1982, Pop penned his autobiography, I Need More, a fascinating al-Qur'an of tilt & roll excessiveness that chronicled his early years straight up to the then-present twenty-four hour period. But around this clock time, Pop began succumbing to his vices once once more and he before long stepped out of the spot for a long stretch to kind his liveliness out, during which time Bowie scored a monolithic polish off with a remaking of the Pop/Bowie nugget "Nationalist China Girl" (recorded sooner on Pop's The Idiot). It wouldn't be until 1986 that Pop would resurface once more, signing with A&M and issuing the Bowie-produced Rant Blah Blah, which featured his first U.S. hit unmarried (albeit a hold in one), a insure of "Real Wild Child." 1988's Instinct saw Pop try his bridge player at hard rock/heavy metallic element, joined by ex-Sex Pistols guitarist Steve Jones, just it wasn't until 1990's Brick by Brick (his beginning album for Virgin) that Pop amply regained his musical vividness level and focus, resulting in his number unmatched U.S. gold-certified album and Top 20 hit unmarried, "Confect," a surprisingly musical duet with the B-52's' Kate Pierson. Just as in the mid-'70s when Pop was looked up to by a swerve of industrious punk bands, history recurrent itself in the early '90s with the emergence of such Stooges disciples from Seattle (Nirvana, Mudhoney, Soundgarden, etc.). Around the same clock time, a wide of the mark kind of bands covered Pop and/or Stooges tracks -- Slayer, Duran Duran, Guns N' Roses, R.E.M., and Tom Jones -- while Pop issued another fine solo set, 1993's American language Caesar. Although Pop attempted to copy the Stooges' heavy and approach on his 1996 solo album Naughty Little Doggie, it wasn't as critically or commercially successful as his former mates of releases. But the same year, Pop enjoyed another polish off when the well-nigh 20-year-old title track from Luxuria for Life was victimized prominently on the strike moving-picture show soundtrack Trainspotting. Throughout the decennary, Pop also tested his hand at acting in movies, grading bit parts in such flicks as Crybaby, Dead Man, and The Crow II: City of Angels, plus a revenant role on the TV show The Adventures of Pete & Pete. Although he wasn't involved in it, the 1998 picture show Velvety Goldmine was allegedly based on Bowie and Pop's relationship in the early '70s (Ewan McGregor's fibre, Curt Wild, was plain patterned later Stooges-era Pop). With just about every new rock'n'roll band listing the Stooges as a major influence by the later '90s, Iggy began tentatively looking for indorse to the band's legacy. He personally remixed a freshly remastered version of Raw Power in 1997, after the long-lost original master tapes were rediscovered and Pop affected the album closer to his original visual sensation of a sum up transonic onslaught. Also released around this sentence was some other Pop/Stooges-related holy Writ, the must-read Please Kill Me: The Oral History of Punk, which recounted the Stooges' life history in keen detail (featuring interviews with all the band's living members). 1999 was a meddlesome twelvemonth for Pop as he was the subject of a VH1 Behind the Music episode, and a new solo record album was issued, the mellow Boulevard B. But his more "refined" musical approach was strictly a roundabout way, as proven by his following release, 2001's in-your-face sway fest Work over Em Up. And after abandoning a promised Stooges reunification in the later '90s, Iggy lastly made well on his subscribe in 2003, bringing Ron Asheton and Scott Asheton aboard to write and record book quaternity songs with him for his album Skull Ring, and taking the reconstituted Stooges on the road for a scant simply riotously received spell (with Mike Watt standing in for the later Dave Alexander on bass, and with the set dominated by tunes from The Stooges and Fun House). In 2004 Iggy appeared in Jim Jarmusch's Coffee and Cigarettes. In plus to the January 2005 Penetration set, that July sawing machine the progeny of A Million in Prizes: The Anthology. It spanned his intact life history and included a 37-track CD, a antecedently unreleased live DVD, and a round of essays from notables like Bowie and Lou Reed discussing Iggy's legacy. Pop released a collecting of new songs, Where the Faces Shine, the following year. |
Wednesday, 10 September 2008
Mp3 music: Iggy Pop
Sunday, 31 August 2008
Putting the 'high' in the Mile High City, a New Orleans delegation checks out Willie Nelson at Red Rocks
Red Rocks is God's own concert venue. Two sandstone monoliths, as long as a football field and several stories high, flank this natural amphitheater in the Rocky Mountain foothills 15 miles west of Denver.
"Stunning" does not begin to account it. The stage sits at the bottom of the basin; all 9,450 seats that fan out above it gas unobstructed views and flawless acoustics.
For those of us accustomed to the rock-free environs of southeast Louisiana, it is especially impressive. On Tuesday night, I tagged along with Houma guitarist Tab Benoit and members of his Voice of the Wetlands Allstars to listen Willie Nelson at Red Rocks.
As we approach shot on a winding road far down the gradient, eerie amber lights reflect off the sandstone boulders that frame the venue high above us. Distant silhouettes shuffle along narrow catwalks strung between the rocks.
"We're being drawn to it like Richard Dreyfuss in 'Close Encounters of the Third Kind,'" says Robert Jr. Whitall, a Detroit-based blues journalist traveling with Benoit.
Red Rocks has hosted events of every description since the 1940s, from New Age pianist John Tesh to Easter Sunrise services; throng band Widespread Panic holds the venue record for sell-outs, at 32. Jethro Tull fans without tickets famously rioted in 1971, resulting in a basketball team year ban on sway concerts.
Blues mouth organ man Jumpin' Johnny Sansone logged character of his misspent early days in nearby Evergreen, Colo. He and his buddies discovered a way to secretly rock-climb into the amphitheater. "I was a much better athlete so," Sansone says. "I byword every show at Red Rocks 1 summer."
His route into Red Rocks Tuesday night is much easier and more legitimate: Aboard Benoit's tour bus. Benoit and Nelson are buddies; Benoit's retinue -- which includes a guy wHO bought Nelson's old mount retreat in Morrison, Colo. -- attends the concert as Nelson's guests.
So after parking the tour heap, a Red Rocks shuttle van transports our mathematical group the net quarter-mile uphill to the venue entrance. Appropriately enough, the New Orleanians put down as opening move act Jerry Jeff Walker reprises "Mr. Bojangles," a song inspired by a character Walker met during an overnight stay in Orleans Parish Prison.
Denver sits at an superlative of unitary mile; Red Rocks is another 1,200 feet higher. Behind and to a lower place the Red Rocks stage, the lights of Denver sparkle in the distance.
"This is the highest I've been except in an airplane," says Deborah Vidacovich, drummer Johnny Vidacovich's married woman. As she walked along a row of benches, "I unbroken leaning downhill. I'm not used to being up."
"I didn't recognize it was this outrageous," Benoit says after mounting 60 rows to our seats. "It's pretty darned steep, especially when you're walking."
He'd visited Red Rocks once during the day, but this was his first concert there. Johnny Vidacovich says he power have played Red Rocks years ago with a jazz band. "I don't know," he says. "I was drunkenness then."
After Jerry Jeff Walker, we join Nelson's 50 or so other guests in a side-of-stage keeping area. For a time both Benoit and Nelson were signed to Justice Records; Benoit recorded respective early albums at Nelson's studio, which sits on a golf course outside Austin. They spent many hours playacting golf and chess.
"He's very competitive," Benoit recalls. "He'll discover your weaknesses and tap them.
"I didn't look at him like this ikon. He was just a cool bozo. I wished he was my grandpa."
Benoit has careworn big crowds in Colorado for over a decennary; on Monday night, he played a sold-out show at a bar in Evergreen. A woman approaches him backstage at Red Rocks and asks to take a photo.
"Why do you want to do that?" Benoit says, messing with her. "I'm just here watching Willie."
"You know why," says the woman, at which compass point Benoit acquiesced.
Nelson's band these days is minimalist. In addition to the leader's battered acoustic guitar, it includes bass, harmonica, piano, pennywhistle, rhythm section and a drummer wHO deploys only a single snare drum and brushes.
The Louisiana musicians are impressed. "That's an easygoing load-in and load-out," Benoit observes, as Vidacovich nods in agreement.
The Red Headed Stranger's hour-and-45-minute set is toss full of hits: "Whiskey River," "Crazy," "Georgia," "On the Road Again," "Beer For My Horses," "Always on My Mind," "Bloody Mary Morning." He and his band are agile and agile; his voice is in fine variant, even as he bunches up lyrics in his trademark, misleadingly off-hand delivery.
Watching from the wings, Benoit says, "I keep intellection, 'Is it over?' Every sung sounds like an encore."
Nelson finally winds down with a abbreviated set of Hank Williams Jr. songs. During the "Jambalaya" line "We'll have big fun on the bayou," the cool breeze that has blown steadily all night -- it wreaked havoc with the giant Texas flag backcloth -- picks up.
"I'll always roll this way again," Nelson sings. That's non surprising -- he'll likely never find a more than beautiful setting for his songs.
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Tuesday, 12 August 2008
Crystal Wind
Artist: Crystal Wind
Genre(s):
New Age
Discography:
Cafe Tropique
Year: 1992
Tracks: 10
Inner Traveler
Year: 1989
Tracks: 10
Richard Dreyfuss sues father, uncle over loan
Wednesday, 6 August 2008
Dani Ro
Artist: Dani Ro
Genre(s):
R&B: Soul
Electronic
Discography:
Enplastico 2003
Year: 2007
Tracks: 11
El Repartidor De Hi
Year:
Tracks: 15
Photos: Kia Soul Goes Undercover at the 2008 Vans Warped Tour(R)
Friday, 27 June 2008
Bollywood Producer To Make Movie In Hollywood
Bollywood film producer Sajid Nadiadwala says his next film will be shot at Universal Studios in Hollywood and that he has signed Sylvester Stallone to appear in it as himself, according to published reports in India. Nadiadwala said earlier that California Governor Arnold Schwarzenegger and Beyonce had also agreed to appear in the film, Kambakkth Ishq. The film stars Akshay Kumar as a body-double and stuntman in Hollywood films.
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Cillian Murphy - Murphy Blasts Knightley Paparazzi
Irish actor CILLIAN MURPHY has slammed the paparazzi for stalking his co-stars KEIRA KNIGHTLEY and SIENNA MILLER on the U.K. set of their forthcoming movie THE EDGE OF LOVE.
The star claims the actresses were harassed daily by the British press - and admits watching the photographers' behaviour made him feel uncomfortable.
He tells Britain's Harper's Bazaar magazine, "It's not a pleasant thing to witness happening to such cool girls, and it makes it very hard for them to concentrate on their job.
"I totally admire them for putting up with it - if I walked out of my house every morning and there were 15 men waiting to photograph me, I couldn't do it."
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