Saturday, 6 September 2008

Ben Lee Performs His Greatest Hits Exclusively on MAX

MAX proudly presents the premiere of an undivided new MAX Sessions performance by Australia�s master of bright eyed melodic pop� the inimitable Ben Lee.


Premiering on 14 September at 7.00pm, MAX SESSIONS: BEN LEE sees the ARIA laurels winning singer/songwriter perform a never-before-seen raw and stripped back fructify full of his greatest hits. Filmed at the Hordern Pavilion, transformed just for MAX, this is the first gear time in his career that Ben Lee has performed at this well-loved music venue.


Accompanied only by his keyboardist, Ben opens the Sessions with �Into the Dark� before acting an eclectic yet powerful range of songs including his unceasingly catchy strike �Catch My Disease� and Triple J�S Hottest one C #2 caterpillar tread from 1998 �Cigarettes will Kill You�. Ben, wHO wrote the soundtrack for Nash and Joel Edgerton�s new cinema The Square, cheekily dedicates �Sand� to Nash in the interview as he is joined on stage by Aussie songstress Jessica Chapnik to perform two enchanting songs from the film.


MAX SESSIONS: BEN LEE is also augmented with behind-the-scenes footage of Ben preparing for the express, giving an insight into his warm and witty charm as he reveals all about his modish album, touring and relationships.


The critically acclaimed MAX SESSIONS has developed a lofty tradition of delivering extraordinary and unique live performances from well-loved local and international acts. Don�t miss this infectiously upbeat Ben Lee performance for Australia�s longest-running and most prestigious intimate concert series, the MAX Sessions.


MAX SESSIONS: BEN LEE

Australian TV Premiere

unday 14 September at 7.00pm

Exclusive to MAX


Encore Screenings: Tuesday 16 September at 6.30pm, Thursday 18 September at 2.00pm & 9.30pm, Friday 26 September at 1.00pm





More info

Wednesday, 27 August 2008

Mp3 music: Slipknot






Slipknot
   

Artist: Slipknot: mp3 download


   Genre(s): 

Alternative
Metal
Rock
Alternative
Metal
Rock

   







Slipknot's discography:


9.0: Live (CD 2)
   

 9.0: Live (CD 2)

   Year: 2005   

Tracks: 12
9.0: Live (CD 1)
   

 9.0: Live (CD 1)

   Year: 2005   

Tracks: 12
Vol. 3 - The Subliminal Verses
   

 Vol. 3 - The Subliminal Verses

   Year: 2004   

Tracks: 14
Duality
   

 Duality

   Year: 2004   

Tracks: 2
Clan
   

 Clan

   Year: 2001   

Tracks: 13
Live At Dynamo 2000
   

 Live At Dynamo 2000

   Year: 2000   

Tracks: 19
Slipknot
   

 Slipknot

   Year: 1999   

Tracks: 20
Mate. Feed. Kill. Repeat
   

 Mate. Feed. Kill. Repeat

   Year: 1996   

Tracks: 8






Slipknot's mingle of grinding, post-Korn alternative metal, Marilyn Manson-esque neo-shock rock, and rap-metal helped make them one of the virtually popular bands in the alleged nu-metal explosion of the belated '90s. But even more helpful was their theatrical, attention-grabbing image: the stripe always performed in selfsame industrial skip suits and homemade Halloween masks, and added to its inscrutable anonymity by adopting the book of Numbers zilch point through and through eight as phase aliases. Add to that a lyrical preoccupation with darkness and nihilism, and an affectionately disdainful name for their fans ("Maggots"), and Slipknot's design for nu-metal success was set.


Slipknot were formed in later 1995 in the unlikely locus of Des Moines, IA; after some early personnel shifts, the nine-piece lineup settled around (in order from number cipher to number eight): DJ Sid Wilson, drummer Joey Jordison, bassist Paul Grey, percussionist Chris Fehn, guitarist James Root, sampler/programmer Craig Jones, percussionist Shawn "Clown" Crahan, guitarist Mick Thompson, and lead vocalizer Corey Taylor. The music scene in Des Moines wasn't much to utter of, and the band's big time ambition was commonly met with disbelief and ridicule, which provided the initial muriel Sarah Spark for its generally anonymous microscope stage visuals. On Halloween 1996, Slipknot self-released an album called Mate. Feed. Kill. Repeat., which began to build a seethe around the mathematical group one time it set up its way of life to several labels. It was picked up for distribution by the Nebraska-based -ismist label, and also caught the attending of Roadrunner Records, which signed Slipknot in 1997. Working with producer Ross Robinson, Slipknot recorded their official, self-titled debut record album, which was released in 1999. They step by step reinforced an audience through near-constant touring, running their way up to the summer Ozzfest package spell, which really expanded their audience. Their live shows were a much-discussed strike with metal fans, and the isthmus performed with such vim that Crahan gashed his head candid on his own barrel kit double that summer, requiring stitches both times. The tracks "Waitress and Bleed" and "Expectoration It Out" got the band some airplay, just about of the buzz came from touring and word of mouthpiece. Finally, in the bounce of 2000, Slipknot was certified pt; the number one such album in Roadrunner's history.


The expectancy for Slipknot's followup was intense, and many industriousness observers predicted that it would debut at number one; even so, faced with some stiff contest that week, the band's soph effort, IA, bowed at figure 3 upon its tone ending in 2001. More heavy touring followed, including some other, more salient slot on that summer's Ozzfest. After a long spell on the road, Slipknot took a break piece the members worked on position projects. The band set up up its own label, Maggot Recordings, and sign a band called Downthesun, whose pencil lead singer had served as Crahan's drumfish technician. Wilson, in the meantime, began DJing solo under the call DJ Starscream, and Root and Thompson both worked on solo material. Drummer Jordison worked with a side group called the Rejects, where he'd actually served for rather some time as guitarist. Taylor, in the meantime, started a side band called Superego, and besides contributed a solo call, "Disoblige," to the soundtrack of the 2002 megahit Spider-Man. That May, the band got some mirthful press when some of its fans discovered the web site of a British crocheting group also called "Slipknot," and afloat the members' in-boxes with too raw e-mails. Guitarist Joey Jordison and Static-X guitar player Tripp Eisen teamed that summer for the Murderdolls externalise, piece Taylor reformed his old band Stone Sour and released an album. By the wintertime, Slipknot had still non reunited and Taylor wrote a commentary on the band's website stating that they had non spoken in months, and that they'd quite break up than become "the future Gwar". The statement sparked a promptly resolved minifeud between Taylor and Gwar frontman Oderus Urungus. merely it likewise sent many of the Maggots into a spin. By early 2003, Taylor had retracted his comments, and proclaimed plans for a new Slipknot album. That August the intact squad decamped Iowa for LA, where they began work on the new record with producer Rick Rubin. "Pulse of the Maggots" appeared in early 2004 as an exclusive download; it was followed by a full cut itemization for Vol. 3: The Subliminal Verses. Slipknot then embarked on a brief circuit as a warm up for their dates headlining Ozzfest that summer. (The group also debuted a in full redesigned third base generation of their illustrious masks.) Subliminal Verses was released in May 2004. It peaked at #2 on the Billboard cc, and the band toured steady for the next class and a half in support. They released 2-disc live record album in November 2005.





Mp3 music: On

Sunday, 17 August 2008

Carcass Reunite To Ensure Place In History; Plus Soilent Green, Vision Of Disorder & More In Metal File





The reunion metalheads ne'er expected would happen is going downward this descend, as influential metallers Carcass will be returning to North American for the first time in more than 15 years, starting September 5. That's when they'll be kicking off a 15-date reunion trek in Worcester, Massachusetts, with Necrophagist and Dying Fetus coming along for what could be a bumpy ride.


For longtime fans of the band, a Carcass reunion has always been something of a tube dream � one fueled by unnumbered rumors that only left hand them flavor cheated. But according to frontman Jeff Walker, the timing couldn't have been more right � or urgent � for Carcass' resurrection.


"If we don't do this now, Carcass volition be erased from the history of rock, to a certain extent," he reflected. "There's so much access to information C245% circuit wraps December 16 in Tucson, Arizona. ...


Vision of Disorder

Thursday, 7 August 2008

Westworld

Westworld   
Artist: Westworld

   Genre(s): 
Rock
   



Discography:


Skin   
 Skin

   Year: 2002   
Tracks: 11


Cyberdreams   
 Cyberdreams

   Year: 2002   
Tracks: 10




Led by the former unmatchable from Generation X (non Billy Idol or Tony James, only guitar player Bob "Derwood" Andrews), Westworld likewise included American vocalizer Elizabeth Westwood and drummer Nick Burton. Named after the 1973 Disneyland catastrophe film, the deuce-ace applied pop sensibilities to the thug and post-punk forms Andrews had been immersed in, and hit number 11 on the British charts with their 1987 individual "Sonic Boom Boy." The group's only subsequent Top 40 success was "Ba-Na-Na-Bam-Boo," afterwards that yr, some other single from the Westworld debut record album Rockulator. Second album Beat Box Rock 'N' Roll followed in 1988, barely 1991's Movers & Shakers was the trio's lowest.






Wednesday, 25 June 2008

Pretty Ricky Video Series Hypes Upcoming LP, Introduces New Member, Reveals Naked Recording Technique




We're still a week away from the official first day of summer, but in case you haven't noticed, things are already getting unseasonably, well, steamy. And while that could be due to any number of things (like, say, global warming), we're willing to chalk up all that heat to gratuitous amounts of Pretty Ricky.

That's because America's foremost purveyors of over-sexxxed R&B — and the group that launched a thousand couch-humping YouTube clips — are back once again, with a new album (80's Babies), a new member (he's called 4Play) and a rather ingenious way of promoting both.

Late last month, the guys in PR launched "21 Days of 4Play," a series of videos on their MySpace page designed to hype the release of Babies (due August 26) and introduce the world to 4Play. The beefy crooner was hired to replace Marcus "Pleasure" Cooper, who split from the group under decidedly acrimonious terms last year. But as is generally the case with pretty much anything involving the libidinous quartet, the videos ended being so, so, so much more. (Check out five things we learned from the videos, in the Newsroom blog.)

Basically, they're the most amazing things ever. And as such, we felt we'd be doing you a disservice if we didn't provide day-by-day highlights of the series. What follows is an up-close-and-personal look at the gentlemen of Pretty Ricky — but not the kind that would make you have to go to a clinic afterward. Sorry, ladies.

» Day 1: We meet Pretty Ricky down in "sunny Miami" (though, from the look of things, it's actually more like "windy and overcast Miami"), where they're doing promotional shoots for Babies and talking about both foreplay and 4Play (it works on both levels!). The latter is introduced via a shot of his glistening abdominal muscles.

» Day 2: Each member of the group (with 4Play shown only as a muscle-bound silhouette) talks about the concept of the album, which Baby Blue — who now goes by the name Diamond Blue and who looks like he's channeling all three members of Bell Biv DeVoe simultaneously — sums up thusly: "This is '08. That's '80s backwards."

» Days 3-5: The other members of Pretty Ricky take turns pimping not only the album and their newest member, but also the general prowess of the group. Slick 'Em (the one with the dreadlocks) says that each member of PR is "spontaneous and full of vigor. ... You gotta have your grown man on, and you gotta be a beast in the bedroom." Blue calls Pretty Ricky "unstoppable ... undeniable." And Spectacular (he's the one who licks his lips a lot) tells us that "[For] the first album, Bluestars, you needed a tissue. Second album, Late Night Special, you needed a rag. This album ... you need a towel for all those tears."

» Days 6-8: A shadowy figure (whom we can safely assume is 4Play) talks about the prowess of 4Play. The ladies talk about the prowess of 4Play. And finally, 4Play, in silhouette once again, croons about the prowess of 4Play, bleating out, "There's a new sheriff in town ... and his name is 4Play."

» Day 9: 4Play — who, we should know, is "the number-one singer in the world" — is finally introduced, and he steps to the mic to croon another tale of his sexual prowess. Pretty Ricky fans, however, remain unimpressed. "He can sing — he ugly tho" is how one YouTube commenter puts it.

» Day 10: During an SUV trip up Interstate 95, we learn that Slick 'Em once told his fifth-grade teacher that he wanted to be a pimp. We also learn that, apparently, the difference between the suffixes "-tion" and "-tioning" is that "-tion" is a noun and "-tioning" is a verb. Or, as Professor Blue (who really is the MVP of the entire series) explains, "If we get a nice young lady, or a '-tion,' [and] by the end of the night we end up '--tioning,' that actually means that we ended up having intercourse, penetration, oral sex, kissing, hugging — whatever you want to call it — that's '-tioning.' "

» Days 11-12: The fellas work out and shoot dice at a fake craps table, sans T-shirts (4Play also does both in wraparound shades and a do-rag). There is much discussion about "the ladies" and "hustling." Hilarity ensues.

» Day 13: Sitting in what looks like your grandma's Florida room (potted plants, glass coffee table, bizarre jungle mural on the wall), Pretty Ricky hammer away on a keyboard and sing about having sex with '80s babies. Slick 'Em inexplicably holds a lint roller throughout.

» Day 14: In perhaps the most amazing moment of the entire series, Blue and 4Play sit in a shiny recording studio, both combing their hair (4Play's sole contribution to the group seems to be his ability to do this) while the camera slowly pulls out to reveal that Blue is wearing nothing but a wife-beater and jockey shorts. The duo then explain that they recorded the songs on 80's Babies "butt-ass f---ing nekkid," because, as Blue explains, "When y'all hear that riff, I want y'all to say, 'I wonder if he was nekkid when he did that?' And you know what you gonna say then? 'Yeah.' "

» Days 15-16: Miscellaneous photo shoots at a Miami soundstage. Nothing much of note here, save the group's matching Versace silk shirts and the faces Spectacular makes throughout.

» Day 17: The guys talk about their ideal mates while lounging in what appears to be an Egyptian tomb. 4Play says he's looking for "sex, love and romance" (he also says this reclining, shirtless, on King Tut's daybed), while Blue is less choosy. "I like thick girls, skinny girls, girls with one toe, girls with five toes, girls with 10 toes," he says. "Small, skinny, extra-large. It ain't a joking matter."

» Day 18: Back in grandma's Florida room, the guys caterwaul about the ladies. Grandma shuts the sliding-glass door.

» Day 19-20: Pretty Ricky recline in the studio and give 4Play a chance to tell the ladies what he's all about. He promptly sucks all the energy out of the room with a monotone soliloquy about "setting you up for a hot night" (he also touches his face a lot). Oh, BTW, everyone is wearing matching military outfits, complete with medals that apparently are on par with the Purple Heart. "Y'all can't take these stripes," Spectacular yells as the camera cuts to a close-up of said medals. "We earned them." They also go to the beach.

» Day 21: In the series' grand finale, we follow 4Play as he gets his Pretty Ricky tattoo, thereby signifying his loyalty to the group. He also signs a waiver, talks on the phone and — you guessed it — combs his hair some more, while the other members of the group look on like proud papas. Clearly the guy's a strong addition to the flock.






See Also

Tuesday, 24 June 2008

Judge delays hearing over Britney's assets

A judge said a July hearing into control of pop star Britney Spears' assets will instead look into other matters, giving attorneys time to compile more information about the troubled singer's affairs.

Court Commissioner Reva Goetz also gave permission to her father Jamie Spears, a co-conservator, to sell the 26-year-old singer's home in the Los Angeles-area community of Studio City, a court spokeswoman said.

Goetz ruled that a July 31 hearing, which had been scheduled to decide whether to end or extend the control her father and a co-conservator now exercise over her affairs, will instead review matters of evidence in the case.

Spears had seen her life spiral out of control starting in late 2006 when she broke up with ex-husband Kevin Federline.

The two waged a bitter custody battle over their two sons, and earlier this year Spears was admitted to Los Angeles-area hospitals twice for psychiatric evaluation.

In February, the court established the conservatorship to give Jamie Spears and attorney Andrew Wallet control over her assets and medical decisions, and the singer's life has seemed to stabilise.

She has stayed mostly out of Hollywood's limelight and even gone back to work on TV, appearing on the comedy How I Met Your Mother.





See Also

LiveDaily Interview: Missy Higgins

Missy Higgins [ tickets ] didn't long to become a famous musician, but somehow she's found herself one, winning over fans with heartfelt, self-written songs and even sweeping the 2005 ARIA Awards, Australia's equivalent to the Grammys. Grounded and focused, Higgins is touring incessantly in support of her 2007 release, "On A Clear Night."LiveDaily contributor Maya Marin recently sat down with Higgins for an in-depth conversation about the new album, as well as her childhood in Australia, her rise from high school student to recording artist and more. LiveDaily: You're originally from Melbourne but you've relocated to LA. How's that working out for you?Missy Higgins: I've just relocated temporarily to LA for this year to work this album and see how it goes. I'm originally from Melbourne, so it's a long way from home, but I figured I was going to dedicate this year to working this album and seeing how it goes for me over here.First off, tell us about your childhood in Melbourne. I know that you started piano lessons very early. Did you come from a musical household?I came from a very musical household, actually. My dad was always playing piano at the back of the house. He put me through lessons and he used to sit next to me every night and help me practice. And my brother, he's a musician. He's seven years older than me and he's always done music so I've always looked up to him. He was in a jazz band in Melbourne and, when I was growing up, we used to go and see them play and he used to get me up on stage to have a sing. My sister's very musical as well. She used to sing in his band, too. We had this dream of having the Higgins Trio, like a Hanson equivalent but with the Higgins. What sort of music did you listen to growing up?When I was very young, I listened to a lot of my dad playing classical piano and we used to go and see a lot of musical theater as a family and then we would bring home the soundtracks and always have them playing. My earliest musical memories are Starlight Express, Cats, Les Miserables and Phantom of the Opera. Then I moved on to what my brother was into, and that was jazz, so I started listening to a lot of female jazz greats like Ella Fitzgerald, Nina Simone, Sarah Vaughan and Billie Holliday. Then I got into my own thing and, in my teenage rebellion stage, I started listening to grunge and then got into more singer/songwriter style music and I guess that's how I formed my style today.And when did you start writing songs?I wrote my first song when I was 10, and that was just this piano piece, basically--a story about the convicts that came to Australia during the settlement of Australia. It was this whole story about a guy stealing a pig and a beheading and there was a dream sequence ...That was quite ambitious for a 10-year-old!Yeah, I know! And there was no words or lyrics. It was all in my head.I read that your sister played a big role in jumpstarting your career when you were still in high school. I know it's a pretty well-known story back in your homeland, but could you please tell us?The first real song that I wrote that I was proud of, I wrote when I was 15, which had lyrics and proper structure with a verse, chorus, etc. I was in grade 10 at the time and I managed to record it onto a tape and then, a couple years later, when I was in my final year of high school, my sister sent that tape into a radio demo competition and it won that, which basically meant that I got my song on the radio and I got to do some shows. It was like I accidentally fell into this musical career and, out of that, I ended up getting signed in Australia, and from that, I ended up being signed in America too--all from that one tape, actually. I have a lot to thank her for.Do you think you would have submitted your music on your own accord?No, I'd never heard of the competition, so I would never have done it on my own, but who knows, I may have ended up in the same position, just by a different road. You can never tell.What happened between winning that contest and recording your first album, "The Sound of White?"I finished my year of high school and then I went backpacking around Europe before I started writing for the album and really buckling down.Did you feel that was important for you to do?Well, my best friend and I had been saving up to go around Europe for a couple of years. We'd been working after school and on the weekends. It was something that we'd been so excited about, and then, all of a sudden, I won this competition and I got this record deal and she was really worried and everyone around me was so, "You're not going to go away, right?" I was like, "Of course I'm still going to go backpacking! We've been planning this and just because I got a record deal doesn't mean that I have to stop everything and change my whole plan." I guess, in the back of my head, I knew that it was something important to do in order to be able to do the album that I wanted to do and to get life experience. All of that is just so important. Tell us how you feel you've matured as an artist from your debut to your second release.I've literally grown up so much between when I wrote that first song, "All For Believing," when I was 15 to when I wrote most of the songs for this album when I was 23, so I think I've had a lot more life experience and I've been on the road for so many years and got to experience so many different cultures and countries and make new friendships and, I guess, just experience the highs and lows of life. That all just accumulates over time into a bit of wisdom--or relative wisdom for my age, anyway--and I've learned from my mistakes and I think I've matured musically as well just because I've been playing with so many great musicians in Australia and over here. I'd like to think that I've improved. I'd like to think that I'll keep on improving for the rest of my career. That's the idea, anyway.You mentioned you've been working with some great musicians. Who have you been working with?My band from Australia, I love all those guys. They just came over for a tour with me last month and I'm touring with them again in a few weeks. They just really inspire me and they're great guys and great musicians. The people I played on the album with, like Mitchell Froom who was the producer, taught me a lot about piano playing and arrangement and composition and that kind of thing. Matt Chamberlain on drums was a really great opportunity because I'd always admired his drumming and to be able to work with him on the album was really inspiring, and Neil Finn came and he sang on the album and played guitar. He's like an idol of mine, so to have him on my album was amazing.Mitchell Froom is the famed producer who's worked with Crowded House, Elvis Costello, Paul McCartney. What do you think his years of experience brought to your sound?I think he's really great at simplifying songs that are too complicated and intricate for the sake of being intricate rather than being artistically better. He and his engineer, David Boucher, they can make an instrument sound so beautiful and so real and so present in the room with you when you listen to their albums. They're just really great at what they do. I think Mitchell brought a real classic sound to the album. He has an ability to bring the singer into the room with you and really feel as though that singer is telling you the story, rather than being supported by heavy production. He has the important things out front and makes it sound really simple and beautiful.