Tuesday, 2 September 2008

Indifference seen, but not Herd

THE Herd had a big party in November last year. It was the night of the federal election and members of the group were performing at a festival in Victoria-NSW bordertown of Albury, in support of frontman Urthboy's solo album.


Knowing their keen interest in politics, the promoters kindly left a TV in their backstage area, a tiny cleaning supplies room. Seated among the brooms, mops and detergents, the group watched with anticipation, and growing elation, as each seat was lost or won.


When it was announced that Kevin Rudd would replace John Howard as Prime Minister, the band danced with glee.


Several beers later, Urthboy (aka Tim Levinson), who normally likes to stay sober and professional during gigs, took to the stage.



Audio: Hear The Herd's song The King is Dead

"It was just one of those days," he recalls. "I walked out on stage and all I cared about was the moment mid-song, at some point while we were bantering, where I was able to reveal the news to all these people who were at the festival all day and wouldn't have known the results. I was just so excited to do it."


The moment is captured in the band's latest single, The King is Dead, off their new album, Summerland, which contains the chorus: "We danced like New Year's Eve; We danced from sheer relief." Sung in pleasant melodies by Jane Tyrrell over rapping by Urthboy and Ozi Batla, it's a catchy number.


Anyone who has heard the Herd's cover of the song, I Was Only Nineteen, a hip-hop tribute to the Redgum anti-war classic, wouldn't be surprised by their left-of-centre political leanings. And they wear their political insignia on their sleeves. There's a quote the Herd uses at the start of the song When You Escape, from the new album. It comes from a documentary about British punk band The Clash. One of The Clash's friends says they shouldn't mix music and politics.


It's some advice the Herd doesn't heed. And why should it? For Summerland, its fourth album, the Sydney eight-piece rag-tag of multicultural musicians has decided to not hold anything back.


"For the most part, we're not one of those bands who inspire indifference in people," says Urthboy, who also runs the band's record label, Elefant Traks. "Usually, we are a bit of a flashpoint for opinionated people. We get both praise and love from various sides of the spectrum and we also get a lot of vitriol."


Their songs, anchored by a hip-hop core, are harmonious, multi-instrumental feasts that make for a great live show.


And politics isn't the only subject that gets their creative juices flowing. Another memorable track on the album is Zug Zug, a fun road-trip tale full of anecdotes that the band say reflects a truer nature of the Herd, more so than any of their political numbers.


Summerland is out now. The Herd plays Billboard on September 5. Tickets: 9369 4000








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Saturday, 23 August 2008

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Wednesday, 13 August 2008

Download Andre Gagnon






Andre Gagnon
   

Artist: Andre Gagnon: mp3 download


   Genre(s): 

New Age
Jazz
Pop

   







Discography:


The Most Beloved Andre Gagnon Cd2
   

 The Most Beloved Andre Gagnon Cd2

   Year: 2003   

Tracks: 12
The Most Beloved Andre Gagnon Cd1
   

 The Most Beloved Andre Gagnon Cd1

   Year: 2003   

Tracks: 13
Escape
   

 Escape

   Year: 2002   

Tracks: 17
Saisons
   

 Saisons

   Year: 2001   

Tracks: 15
L'histoire D'amour Et Adieu
   

 L'histoire D'amour Et Adieu

   Year: 2001   

Tracks: 17
Histoires Revees
   

 Histoires Revees

   Year: 2001   

Tracks: 10
Solitude
   

 Solitude

   Year: 2000   

Tracks: 14
Resonance
   

 Resonance

   Year: 2000   

Tracks: 11
Presque Bleu
   

 Presque Bleu

   Year: 2000   

Tracks: 10
Noel
   

 Noel

   Year: 2000   

Tracks: 12
Les Jours Tranquilles
   

 Les Jours Tranquilles

   Year: 2000   

Tracks: 10
Eden
   

 Eden

   Year: 2000   

Tracks: 12
Reves D'automne
   

 Reves D'automne

   Year: 1999   

Tracks: 16
La Musique D'andre Gagnon  Automne
   

 La Musique D'andre Gagnon Automne

   Year: 1999   

Tracks: 12
Wondering Married Life
   

 Wondering Married Life

   Year: 1998   

Tracks: 12
Le Pianiste
   

 Le Pianiste

   Year: 1998   

Tracks: 16
Impressions  Romantique
   

 Impressions Romantique

   Year: 1994   

Tracks: 10
L'eternel Retour
   

 L'eternel Retour

   Year: 1989   

Tracks: 10
Comme Dans Un Film
   

 Comme Dans Un Film

   Year: 1986   

Tracks: 8
Impressions Vol.2
   

 Impressions Vol.2

   Year: 1983   

Tracks: 10
Impressions Vol.1
   

 Impressions Vol.1

   Year: 1983   

Tracks: 9
Neiges
   

 Neiges

   Year: 1975   

Tracks: 9
La Musique D'andre Gagnon  Hiver
   

 La Musique D'andre Gagnon Hiver

   Year:    

Tracks: 12
Image
   

 Image

   Year:    

Tracks: 9
Andre Gagnon Au Centre Molson
   

 Andre Gagnon Au Centre Molson

   Year:    

Tracks: 22
Age,35
   

 Age,35

   Year:    

Tracks: 10






Classical player and composer Andre Gagnon began playing the forte-piano in front he regular began school. Born in 1942 in Quebec, he went to Paris at the historic period of 19 to written theme on a subsidization from the Canadian government. After returning to Canada, he worked with Claude Leveillee for vII years. He then turned solo and went to London to record with the London Baroque Orchestra and afterward, the Hamburg Philharmonic Orchestra. Of his more than 20 albums from 1964 to 1993, Neiges (1976) was the most popular; it was a bestseller and north Korean won a Canadian Juno Award. Gagnon has besides recorded in the discotheque and pop w. C. Fields.






Wednesday, 6 August 2008

Love

Love   
Artist: Love

   Genre(s): 
Rock
   ROck: Alternative
   Trance: Psychedelic
   



Discography:


Four Sail   
 Four Sail

   Year: 2002   
Tracks: 13


Forever Changes   
 Forever Changes

   Year: 2001   
Tracks: 18


Da Capo   
 Da Capo

   Year: 1967   
Tracks: 7




One of the best West Coast folk-rock/psychedelic bands, Love whitethorn take also been the number one widely acclaimed cult/underground grouping. During their abbreviated point -- dogged all of deuce-ace albums -- they john Drew from Byrds-ish folk-rock, Stones-ish hard careen, blues, dead words, gypsy dancing, and regular tripping orchestral pop to create a rash grudge of their own. They were besides i of the first integrated wobble groups, lED by brain singer/songwriter Arthur Lee, unmatchable of the most idiosyncratic and puzzling talents of the 1960s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to responsibility tour until well past times their pecker. This ensured their nonstarter to area a pip single or record album, though in truth the band's imagination crataegus laevigata have been to a fault tough to thread in mass achiever in any case.


Dear was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled about the fringes of the john Rock and soulfulness business for a couple of days. In add-on to recording some fizzle singles with his own bands, he wrote and produced a individual for Rosa Lee Brooks that Jimi Hendrix played on as session guitar player. Originally calling his outfit the Grass Roots, Lee changed the name to Love later another Los Angeles grouping called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.


Elysian by British Invasion bands and local peers the Byrds, Love reinforced up a potent undermentioned in hip joint L.A. clubs. Soon they were signed by Elektra, the famous folk tag that was just starting to catch its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had simply released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their union of the Byrds and the Stones on a go down of largely original material and contained a small tally, their punk-ish version of Bacharach/David's "My Little Red Book."


Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their entirely Top 40 strike, the corkscrew-tempoed "7 & Seven Is." The number one side was psychedelia at its best, with an eclectic pallet encompassing savage wind structures, soft Spanish guitar interludes, and beautiful baroque pop with dreamlike images ("She Comes in Colors"). It was too psychedelia at its to the highest degree heady, with the hale of side iI taken up by a meandering 19-minute pack. It was still a great step forward, but by mid-1967, the band was menacing to disintegrate due to drugs and general disorganization.


The radical was in such deplorable form, ostensibly, that Elektra planned to record their one-third record album with sessionmen championship Lee (on his compositions) or MacLean (on his compositions). Work on deuce tracks actually commenced in this style, just the dismayed band pulled themselves together to recreate their own material again, resulting in one of the finest rock albums of all time, Perpetually Changes. An exceptionally potent ready of material graced by bewitching lyrics and sheeny, unobtrusive trump and string arrangements, it was non a commercial hit in the U.S. (though it did pretty good in Britain) simply remains an all-time favourite of many critics.


Merely at the point where they seemed poised to assert themselves as a whirligig dance band, Love's number one and best batting order was busted up in early 1968, at Lee's abettal. Several albums followed in the late '60s and early '70s that, though credited to Love, ar in world Lee and patronage musicians -- none of whom had skills on the spirit level of Bryan MacLean or the former original Love workforce. Lee mostly forsook folk-rock for difficult john Rock, with unimpressive results, even when he was able to flummox Jimi Hendrix to playact on one track. The problems ran deeper than unsympathetic accompaniment: Lee's songwriting muse had largely abandoned him as advantageously, and zero on the carryAlways Changes albums competes with the early Elektra records.


Bruce Lee released a solo record album in the early '70s, and and so pose another Love together for one utmost feat in 1974, simply fundamentally Love/Lee (the deuce had in effect suit synonymous) ground to a kibosh in the mid-'70s. Lee has sporadically recorded and performed since so without approach up with anything resembling a coordinated full-length studio apartment statement, though some scattered live and studio recordings receive appeared, including a 1994 single on the midget Distortions mark.






Friday, 27 June 2008

Mathias Grassow and Thomas Weis

Mathias Grassow and Thomas Weis   
Artist: Mathias Grassow and Thomas Weis

   Genre(s): 
Rock
   



Discography:


Insights   
 Insights

   Year: 2007   
Tracks: 5




 






Thursday, 19 June 2008

New film version of TV's classic 'Get Smart' isn't as clever








"Get Smart," which began its life on TV as a classic sitcom that cleverly satirized Cold War espionage, has been transformed for the big screen into just another standard action picture.

Pity, too. Because Agent Maxwell Smart himself would have made a more entertaining movie, just by picking up a camera and bumbling his way through it.

You certainly can't complain about the casting of Steve Carell in the lead role. What other actor has the buttoned-down looks and self-deprecating sense of humour to fill Don Adams' shoe phone?

And director Peter Segal ("Anger Management," "50 First Dates"), working with writers Tom J. Astle and Matt Ember, retains just enough elements of the 1960s TV series to tug at baby boomers' sense of nostalgia. Max marches through a series of steel doors and drops through a phone booth to reach CONTROL's underground headquarters; while on the job, he utters a few of those favourite lines like, "Would you believe . . . ? and "Missed it by that much."

But tonally, that's where the similarities end.

Carell's Smart is a good guy - hardworking, earnest, desperate to prove he's ready to be promoted from behind the desk as an analyst to the challenges of working as a field agent. While it's true that doing a dead-on impression of Adams would have seemed campy and fallen flat, this characterization misses the point, too. The combination of self-seriousness and ineptitude is what made Maxwell Smart a comic icon. No one involved with this movie seems to get that.

In this screen version, Smart and the glamorous, capable Agent 99 (Anne Hathaway, kicking far more butt than Barbara Feldon ever could have imagined) find themselves in a series of increasingly elaborate, explosive scenarios (hanging from a plane, being dragged behind a speeding SUV, dodging a train). It all plays out in big, loud, obvious fashion - as if the filmmakers figured the audience wouldn't be interested in the sort of sly absurdity that gave the show its original charm.

Among the wasted supporting cast are Alan Arkin as the exasperated Chief, Terence Stamp as the evil head of the rival spy agency KAOS and Bill Murray in one painfully unfunny scene. Dwayne Johnson swaggers and flashes those blindingly pearly whites of his as the studly Agent 23, with Masi Oka and Nate Torrence grabbing a couple of laughs as a pair of put-upon CONTROL tech geeks.

As for the plot, it feels like an afterthought, something cobbled together once all the pratfalls and sight gags were lined up. (Again, several of the bad guys are Russians, but their villainy lacks the sort of relevance it had 40 years ago.) An attack on CONTROL exposes all the secret agents' identities, leaving Max and 99 as the only ones left to go after the rival spy agency KAOS and undermine their nuclear plot.

Or something.

This requires Max to harpoon himself repeatedly in the face with one of his gadgets, then fall out of a plane without a parachute. Later, he's at the centre of jokes involving urine, vomit and his own bare backside.

In case all that failed to wow the crowds, and it probably will, "Get Smart" wedges in a totally needless romance between Max and Agent 99. Again, part of the allure of the TV show was the banter, the tension between the two, the way they teased and cajoled each other but always managed to get the job done, somehow. The 20-year age difference between Carell and Hathaway is a bit of a distraction, but fundamentally, they just don't have enough chemistry to suggest that falling for each other would be inevitable.

Besides, Agents 86 and 99? It just doesn't add up. One and a half stars out of four.










See Also

Wednesday, 11 June 2008

Karnivool

Karnivool   
Artist: Karnivool

   Genre(s): 
Rock
   



Discography:


Themata   
 Themata

   Year: 2007   
Tracks: 12




 





Joni Mitchell