Today's Song of the Day is by Dead Confederate [ ]. The featured cut is "The Rat," which appears on the quintet's most recent album, "Wrecking Ball."
story_top_holder>
Listen now:
right_content player>
�
More information
Friday 5 September 2008
LiveDaily Song of the Day: Dead Confederate - "The Rat"
Listen now:
right_content player>
�
More information
Tuesday 26 August 2008
Download Ross Copperman mp3
 Artist: Ross Copperman: mp3 download Genre(s): Rock Discography:  Welcome To Reality Year: 2007 Tracks: 13 Adult substitute singer/songwriter Ross Copperman number one base gained attention for his music while attention college at James Madison University in his native Virginia. Inspired by such Brit-rock artists as U2, Radiohead, Muse, and Oasis, Copperman last signed with the U.K. mark Phonogenic/RCA Records. He released his debut book album, Welcome to Reality, in 2007. |
Saturday 16 August 2008
Festival review: Underage v Field Day
Two festivals, two years, one location. The only major difference, save for variations in the align, between Underage Festival and Field Day is that the former requires the crowd be no jr. than 14 and no older than 18, whereas the latter is a strictly 18-plus affair. Both events premiered last year, with Underage receiving comparatively ecstatic reviews and Field Day getting a general thumbs gloomy for reasons that we'll come to shortly, import this year there was high first moment for Sam Kilcoyne's fete.
High-pitched vocals are the order of the day at Underage, and not just from the kids. A laptop-focussed Fryars and his operatic pitch draws a devoted crowd to the NME stage, piece pop-rock band Team Waterpolo combine excessive falsetto with anthemic choruses and thumping rhythms. They are truly terrible, especially as the increasingly excellent Wild Beasts (whose singer Hayden Thorpe has a dexterous falsetto of his own) are kicking into action on the nearby Domino stage. It's a shame they're unable to wrestle many of the crowd out from this Killers-esque mixture. Elsewhere a tiny, midget trio of girls called Care Bears on Fire loiter patiently onstage patch sound levels are adjusted before kicking into action with their straightforward but nonetheless lovely take on Riot Grrrl rawk.
Considering we came to Underage anticipating a crowd shrieking like crazy with the airheaded thrills of youth, we're not altogether convinced. That is, until, we come face to face with the hysteria during the Foals' headline slot, when officials subscribe to to the stage after two songs to chew out a push member for climbing a piece of apparatus. For the most part though, the push comprises of young work force holding their balls intensely and girls travelling in packs, garbed exactly the same as at least one of their friends. Coyness and manners: they're the new rock'n'roll.
A disgustingly busy cigarette bar signals that we ar now in the company of the older patronage at Field Day, an event which managed to top a Guardian.co.uk/music poll parrot of worst festivals ever after only one yr in creation thanks to too many people, overly little toilets, not enough beer tents and non enough volume.
Organisers had gone all out to ensure this year wasn't blighted by queues for the water closet so long they wind round the site simply they couldn't do anything to see to it a decent forecast. Miserable, windy weather puts a damper on the day, and though the likes of Lightspeed Champion, New York art-punkers Les Savy Fav and drone-pop trine Telepathe provide stand-out performances, there is little that can be done to save the festival from being a generally deaden experience.
Whatever expectancy you have for a festival comprising of 14-18-year-olds, you're potential to be disappointed. Underage's atmosphere doesn't feel particularly exciting compared to, say, Reading and Leeds (also a whitney Moore Young Jr. crowd), and for the most region the crowd together just looks vulnerable and self-conscious. But then they're not here to be judged by us olds, they're here to enjoy, improbable as it seems, the likes of Team Waterpolo without constant fear of being asked for ID. Let them drink Cola Red Bull, while the rest of us endure forbidding weather and overpriced beer.
More info
Thursday 7 August 2008
Barenaked Ladies cancel Disney gig due to drug arrest
Canadian alternative-rock band the Barenaked Ladies have off their August performances at the Disney Music Bloc Party due to isaac Merrit Singer Steven Page being arrested on cocain charges.
Manager for the group Terry McBride announced on Friday the cancellation, and said by statement �Members of the band completely support Steven Page... just we don�t want to put Disney in an awkward position before issues involving Steven�s arrest ar resolved�.
Page was arrested on 11 July after beingness seen at an apartment by police that had cocaine and marijuana on the premises. The singer tested overconfident to cocaine, and was caught with two tablets in his pocket.
Page has been released on bail, and is scheduled to reappear in court on August 26.
The group�s modish album Snacktime! is a children�s album, and has since peaked in�the cover ten in Canada following its May release.
More information
Friday 27 June 2008
Alex Chilton
Artist: Alex Chilton
Genre(s):
Other
Discography:
Alex Chilton's Lost Decade (CD1)
Year: 2004
Tracks: 8
In a business enterprise that reinvents itself at every turn, Alex Chilton has managed to live for three decades with a treble career as intimately -- his early recordings with the Box Tops, the trey albums he did with Big Star in the mid-'70s and the surge of cool, but chaotic, solo albums he's recorded since then. To some, he's a classic hit-maker from the '60s. To others, he's a genius British-style pop musician and songster. To so far some other audience, he's a unredeemed and desperate artist world Health Organization spent several years battling the bottle, delivering anarchistic records and performances spell thumbing his nose at all pretenses of stardom, a way-out iconoclast whose influence has spawned the likes of the Replacements and Teenage Fanclub.
For a guy wHO grew up in and around Memphis, in that respect isn't anything remotely Southern about Alex Chilton. Although amply aware of his environment and in tune spiritually with its most lunatic fringe aspects, Alex Chilton's South has more to do with cultured Southern intellectualisms than rednecks.
Chilton started playing music in local Memphis senior high combos, alternating between basso and rhythm guitar with a err vocal thrown in, at last working himself up to professional status with a mathematical group called the DeVilles. After acquiring a coach with recording connections trussed to Memphis hitmakers Chips Moman and Dan Penn, Alex and the radical -- new renamed the Box Tops -- recorded "The Letter," a record book that sounded White enough to go number one on the pop charts and yet Black enough to data track on R&B stations, also. Chilton was still in his teens, simply armed with a strong innovation of how crop up and R&B vocals should be handled. With the hand of vocal coach Dan Penn firmly in piazza, the hits unbroken advent, with "Cry like a Baby," "Psyche Deep" and "Sweet-smelling Cream Ladies" all showing visible graph action. The Box Tops were stars by AM wireless singles standards, simply tours in general opened Chilton's eyes to the world and what it had to volunteer. And what that globe seemed to offer to Alex was a portion more artistic exemption than he had as token drawing card of the Box Tops.
After a few errant solo roger Sessions, Chilton found himself in Big Star with singer/guitarist Chris Bell. Their blending of ethereal harmonies, kinky lyrics and Beatlesque song dynasty structure appeared to be radio-friendly, simply distribution for their label, Ardent Records, spelled disaster. With Bell gone and the label literally dangling on by a wander, Chilton went into the studio with producer Jim Dickinson and attempted to set together the third base Big Star album. These roger Huntington Sessions, now known as Sister Lovers, ar legendary in some living quarters. So much has been read into this recording, primarily the myth that Chilton became a pop creative person world Health Organization, in the face of critical succeeder but commercial apathy, suddenly rebelled against the system and became a "fated creative person on a collision course to Hell." Chilton himself dismisses all such romantic notions: "I mean that to say that it's a fairly druggy form of album that is the work of a disconnected person trying to find himself or find his creative direction is a honest statement about the thing."
Around 1976, Chilton started producing a wild cross section of solo outings for several strange and American independent labels, all featuring his love for isolated material, barbwire guitar playing, howling feedback and bands world Health Organization sounded barely familiar with the substantial. Plugging into the bohemian punk rock scenery of New York City, Chilton's lawless advance and attitude match the scene like a baseball mitt. In plus to his gigging and playing agenda, Alex besides produced the debut session by the Cramps, serving to realm their deal with I.R.S. Records. Chilton was getting legendary enough to end up having a song by the Replacements named after him. Through the late '80s into the early '90s, Alex split his time between recording, gigging overseas plugging his a la mode release and playing oldies shows in the U.S., reprising his older Box Tops hits. In the early '90s, Chilton -- resettled to New Orleans, his demons behind him -- began releasing a series of excellent solo albums on the new revived Ardent label and level participated in a couple of Big Star "reunions."
Monday 9 June 2008
Honour to the max
ONE thing was missing at last year's Concert for Max benefit: Max Merritt himself. But the music veteran considers himself remarkably well, in fact in vintage form.
In April last year Merritt was diagnosed with Goodpasture's Syndrome, a rare auto-immune disease that attacks the kidneys, and he has since been having dialysis three times a week. ‘‘I'm remarkably well for a man of my vintage,'' Merritt, 67, says from his home in Los Angeles. ‘‘I'm maintaining my health. I have dialysis three times a week, but there's still no kidney function. I'm on the list for a kidney transplant, but one goes about one's daily life as best one can. You can't dwell on it. You just go on with your life.'' For Merritt that means making his first trip back to Australia for his induction into the ARIA Hall of Fame on July 1. ‘‘It validates all those years you spend thrashing away doing what you thought was right,'' Merritt says. ‘‘It came as a complete surprise. I thought I'd been long left in the dust.'' The Concert for Max, which starred Renee Geyer, James Reyne, Normie Rowe, Ross Wilson, Daryl Braithwaite and John Paul Young and was held at the Palais last October, will be released on DVD on June 21. The event raised more than $200,000. ‘‘It helped pay my hospital costs and took away the dread of all those impending bills hanging over my head,'' Merritt says. ‘‘I'm looking forward to coming back. I never got a chance to say thank you to all the people involved.'' Merritt joins the Triffids in the latest batch of inductees into the Hall of Fame, alongside Dragon and Russell Morris. Triffids guitarist Graham Lee says the nod is bittersweet. The band's frontman and songwriter, David McComb, died in 1999 after a long battle with ill health. ‘‘Dave would have been very pleased to see this happen,'' Lee says of the induction. ‘‘It's very bittersweet for us because Dave isn't here, but we are trying to make sure people remember him. ‘‘The Hall of Fame had never entered my mind. I thought we might eventually sneak in there somewhere, but the Triffids' initial level of success in Australia was not that great. Only over time has the music been recognised for what it is.'' Lee has been keeping the Triffids' legacy alive since McComb's death. He runs the band's official website and has steered several album reissues, lovingly adding rare bonus tracks. The Triffids have had a few sporadic reunions since McComb's death, most recently for the Sydney Festival in January. Steve Kilbey from the Church was one of many guest vocalists. ‘‘The people at the Sydney Festival realised if you want to sing Dave's songs you have to attack them,'' Lee says. ‘‘Steve Kilbey did so to such an extent he lost his voice after two nights. I thought we were going to get lynched by Church fans -- ‘Triffids destroy Steve Kilbey's voice!' '' The Triffids' legacy has spread far and wide. Diehard fans organised a plaque to be placed at the London studio where 1986's Born Sandy Devotional was recorded. ‘‘All these wonderful things happen and each time I think ‘Oh Dave, you should be here','' Lee says. The Perth band will soon be the subject of three books (including one of McComb's poetry), three CD reissues, steered by Lee, and two documentary films. Lee still has plenty of material in the Triffids' vault, from early recordings to McComb's unreleased solo album and unfinished material. Lee and Merritt are sworn to secrecy about their Hall of Fame performances and induction. However, Lee is happy to have another chance to air McComb's material. ‘‘We're very particular about what we do. We're not a band any more. The only reason we get together is to do justice to the songs of David McComb,'' he says. Meanwhile, Merritt has found being housebound has its compensations -- he's been writing a string of songs. ‘‘Writing songs doesn't require a lot of physical strength. There's definitely a CD in the making somewhere down the line,'' he says. Though he knows an Australian tour is unlikely at the moment (‘‘the cost would be immense -- you'd have to set up dialysis clinics around the country'') he hasn't ruled out a run of shows in one city. ‘‘I figure if I can pick up a jackhammer, which I have been using around the house of late, I can pick up a guitar. I'm not completely well, but don't write me off yet. It's going to take a lot more than that. ‘‘I'm too old and grizzly and ugly. You can't let something like that push you off the shelf.'' ARIA Hall of Fame, Melbourne Town Hall, July 1. $87.70, Ticketek.
In April last year Merritt was diagnosed with Goodpasture's Syndrome, a rare auto-immune disease that attacks the kidneys, and he has since been having dialysis three times a week. ‘‘I'm remarkably well for a man of my vintage,'' Merritt, 67, says from his home in Los Angeles. ‘‘I'm maintaining my health. I have dialysis three times a week, but there's still no kidney function. I'm on the list for a kidney transplant, but one goes about one's daily life as best one can. You can't dwell on it. You just go on with your life.'' For Merritt that means making his first trip back to Australia for his induction into the ARIA Hall of Fame on July 1. ‘‘It validates all those years you spend thrashing away doing what you thought was right,'' Merritt says. ‘‘It came as a complete surprise. I thought I'd been long left in the dust.'' The Concert for Max, which starred Renee Geyer, James Reyne, Normie Rowe, Ross Wilson, Daryl Braithwaite and John Paul Young and was held at the Palais last October, will be released on DVD on June 21. The event raised more than $200,000. ‘‘It helped pay my hospital costs and took away the dread of all those impending bills hanging over my head,'' Merritt says. ‘‘I'm looking forward to coming back. I never got a chance to say thank you to all the people involved.'' Merritt joins the Triffids in the latest batch of inductees into the Hall of Fame, alongside Dragon and Russell Morris. Triffids guitarist Graham Lee says the nod is bittersweet. The band's frontman and songwriter, David McComb, died in 1999 after a long battle with ill health. ‘‘Dave would have been very pleased to see this happen,'' Lee says of the induction. ‘‘It's very bittersweet for us because Dave isn't here, but we are trying to make sure people remember him. ‘‘The Hall of Fame had never entered my mind. I thought we might eventually sneak in there somewhere, but the Triffids' initial level of success in Australia was not that great. Only over time has the music been recognised for what it is.'' Lee has been keeping the Triffids' legacy alive since McComb's death. He runs the band's official website and has steered several album reissues, lovingly adding rare bonus tracks. The Triffids have had a few sporadic reunions since McComb's death, most recently for the Sydney Festival in January. Steve Kilbey from the Church was one of many guest vocalists. ‘‘The people at the Sydney Festival realised if you want to sing Dave's songs you have to attack them,'' Lee says. ‘‘Steve Kilbey did so to such an extent he lost his voice after two nights. I thought we were going to get lynched by Church fans -- ‘Triffids destroy Steve Kilbey's voice!' '' The Triffids' legacy has spread far and wide. Diehard fans organised a plaque to be placed at the London studio where 1986's Born Sandy Devotional was recorded. ‘‘All these wonderful things happen and each time I think ‘Oh Dave, you should be here','' Lee says. The Perth band will soon be the subject of three books (including one of McComb's poetry), three CD reissues, steered by Lee, and two documentary films. Lee still has plenty of material in the Triffids' vault, from early recordings to McComb's unreleased solo album and unfinished material. Lee and Merritt are sworn to secrecy about their Hall of Fame performances and induction. However, Lee is happy to have another chance to air McComb's material. ‘‘We're very particular about what we do. We're not a band any more. The only reason we get together is to do justice to the songs of David McComb,'' he says. Meanwhile, Merritt has found being housebound has its compensations -- he's been writing a string of songs. ‘‘Writing songs doesn't require a lot of physical strength. There's definitely a CD in the making somewhere down the line,'' he says. Though he knows an Australian tour is unlikely at the moment (‘‘the cost would be immense -- you'd have to set up dialysis clinics around the country'') he hasn't ruled out a run of shows in one city. ‘‘I figure if I can pick up a jackhammer, which I have been using around the house of late, I can pick up a guitar. I'm not completely well, but don't write me off yet. It's going to take a lot more than that. ‘‘I'm too old and grizzly and ugly. You can't let something like that push you off the shelf.'' ARIA Hall of Fame, Melbourne Town Hall, July 1. $87.70, Ticketek.
Sunday 1 June 2008
User goes straight to the top of UK album charts
Usher has topped the UK album charts tonight (June 1), with �Here I Stand�, while second long player 'Emergency' has gone it at Number 5.
In the singles countdown, Rihanna's 'Take A Bow' is Number One, and The Ting Tings stay at Two with 'That's Not My Name'.
Duffy's 'Warwick Avenue' is at Number Three, while Sam Sparro is at Number Six 'Black And Gold'.
Whiley's love-it-or-hate-it 'Wearing My Rolex' is at Number Ten.
This week�s top ten singles are:
1. Rihanna � 'Take A Bow'
2. The Ting Tings � 'That's Not My Name'
3. Duffy � 'Warwick Avenue'
4. Madonna Ft Justin Timberlake � '4 Minutes'
5. Will I Am Ft Cheryl Cole �' Heartbreaker'
6. Sam Sparro � 'Black And Gold'
7. Ne-Yo � 'Closer'
8. Usher Ft Young Jeezy � 'Love In This Club'
9. September � 'Cry For You'
10. Wiley � 'Wearing My Rolex'
However in a reversal of their fortunes in the full countdown, The Ting Tings top the download chart, with Rihanna at Number Two.
In the singles countdown, Rihanna's 'Take A Bow' is Number One, and The Ting Tings stay at Two with 'That's Not My Name'.
Duffy's 'Warwick Avenue' is at Number Three, while Sam Sparro is at Number Six 'Black And Gold'.
Whiley's love-it-or-hate-it 'Wearing My Rolex' is at Number Ten.
This week�s top ten singles are:
1. Rihanna � 'Take A Bow'
2. The Ting Tings � 'That's Not My Name'
3. Duffy � 'Warwick Avenue'
4. Madonna Ft Justin Timberlake � '4 Minutes'
5. Will I Am Ft Cheryl Cole �' Heartbreaker'
6. Sam Sparro � 'Black And Gold'
7. Ne-Yo � 'Closer'
8. Usher Ft Young Jeezy � 'Love In This Club'
9. September � 'Cry For You'
10. Wiley � 'Wearing My Rolex'
However in a reversal of their fortunes in the full countdown, The Ting Tings top the download chart, with Rihanna at Number Two.
Subscribe to:
Posts (Atom)