 Artist: Glitter Band: mp3 download Genre(s): Other Glitter Band's discography:  Angel Face Year: 1993 Tracks: 10 Named for their associations with glam god Gary Glitter, the Glitter Band originally came together in 1972, next Glitter's possess find with the stumble "Tilt and Roll." With his first major concert turn looming, Glitter and producer coconspirator Mike Leander required a full-time support band, one which would -- though they could never birth dreamed it at the time -- at long last get nigh as successful, and sure sufficiency as well-known, as Gary Glitter himself. Although the band was not physically submit on any of Glitter's possess hits (according to the vocalist, Mike Leander alone played every instrument himself), the Glitter Band not only when attended Glitter on each of his tours and telecasting appearances, they as well racked up seven hits of their possess, six of them as intimately making the Top Ten. Even more impressively, part the band's original sound was indeed firmly cut in the fashion of their namesake, by the end of their career, the grouping had developed into a altogether original and dead fascinating playact in their possess right. The Glittermen, as the grouping was originally known, was reinforced around an idea which Glitter and Leander had first experimented with during the mid-'60s, a sprawl jazz band whose levelheaded and visuals were based upon a unique (for British acts) congress of Racial Equality of two drummers and deuce saxophonists. Their selection of bandleader, also, reached plump for to that in the first place eRA -- baritone horn adolphe Sax player John Rossall had antecedently played with Leander's possess eponymous Show Band and alongside Glitter in the subsequent Boston International. The conclusion to plunge the Glitter Band as a recording act in their own right was made in late 1973. Written by John Rossall and Gerry Shepherd, their debut single, "Holy man Face," was an obvious close relation of the parent Glitter sound, a pounding, stomping number which raced to phone number four in Britain in March, 1974, merely it was emphatically demoniac of a appeal all of its possess. It was followed by "Simply for You" and "Let's Get Together Again," both of which unbroken the grouping in the Top Ten, patch their debut album, Hey, reached phone number 13 and that despite being comprised of slight more than than reprises of the hits. Grounds that the Glitter Band were capable of meeting greater challenges than the Glitter sound unremarkably offered was delivered in early 1975 by their one-fourth single, the diffused john Rock lay "So long My Love." An absolute departure, "Good day My Love" climbed to number deuce, piece the group's abilities as songwriters received some other encourage when labelmates Hello scored a European dispatch with a overlay of the Glitter Band's own "Game's Up." (How-do-you-do besides scored with another Heygeological era staple, a cover of the Exciters' "Tell Him.") Buoyed by the massive success of "Cheerio My Love," the Glitter Band selected another mild rock 'n' roll musician for their adjacent single, "The Tears I Cried," following through over the side by side 12 months with the likewise styled "Love life in the Sun" and "People Like You, People Like Me." Two further albums, Rock'n'Roll Dudes and Listen to the Band, were equally brave, with the group's aspiration today so pronounced that they even brushed away the first signs that their before indomitability was crack: the chart failure of the singles "Alone Again" and "Don't Make Promises." In 1976, with Gary Glitter having announced his retirement, the Glitter Band cut their last sonic golf links with the old sound. With John Rossall having depart for a solo calling, the unexpended members signed with CBS and, shortening their name to the G Band, adjust to work on on their most ambitious ingathering nevertheless, Genus Paris Match. An absolutely un-Glitter-like determine, it was characterized by a genuinely barefaced cover of the Rolling Stones' "Sympathy for the Devil." Unfortunately, though the banding had stirred on, their fans hadn't -- so, as one waggle later put it, in changing their call, they had unbroken the "G," simply the fans treasured the "litter." In late 1977, the radical transferred to Epic for one last single, a cover up of the Bee Gees' "Gotta Get a Message to You," but by 1978, the banding had all merely sundered. 1979 saw Shepherd and Phipps radio link with former Sparks/Jet keyboard instrumentalist Peter Oxendale for the album Put Your Money Where Your Mouth Is, credited to Shepherd/Oxendale and released in the U.S. only. The Glitter Band regrouped under their previous name in 1980, close to the same fourth dimension as Gary Glitter himself moved back into focus. In 1981, the group released a new single, "Until the Next Time," maintaining a regular flow of further releases through and through the adjacent five-spot years. A modern album, recorded bouncy at the London Marquee Club, appeared in 1985, while a succession of hits collections (several featuring freshly re-recorded material) unbroken their cite awake on the record shelves. There are two Glitter Band's in cognitive operation, unrivaled featuring Shepherd, the early -- Glitz Blitz/Glitter Band, fronted by Phipps. |
Thursday 21 August 2008
Mp3 music: Glitter Band
Monday 11 August 2008
Angel
Artist: Angel
Genre(s):
Other
Pop
Discography:
A Woman's Diary: Chapter I
Year: 2005
Tracks: 12
Welcome To The Soul Asylum
Year: 1993
Tracks: 10
Angel was a '70s heavy metal band based on the East Coast featuring isaac Bashevis Singer Frank DiMino, guitar player Punky Meadows, and keyboard thespian Gregg Giuffria. They had their biggest success in 1978 with the album E. B. White Hot, which featured their Top 50 track of "Ain't Gonna Eat Out My Heart Anymore." The mathematical chemical group stone-broke up later the liberation of Tin You Feel It, merely had their work repackaged in several different collections.
Evan Parker and Keith Rowe
Wednesday 6 August 2008
Starship Troopers - 8/5/2008
Move over, John Waters. There’s a new martin Luther King of schlock in town, and he’s got a much bigger budget.
The recent video release of last year’s Starship Troopers reveals a superior at work, comfortably at home in his truest of elements: cheesy action films. Paul Verhoeven is the master in head, the director of such fare as RoboCop and Basic Instinct—his last-place really successful film, in 1992. With a $95 million budget, Troopers eventually grossed a little o'er half that domestically, but it has done well enough abroad to control that, like Schwarzenegger in Verhoeven’s Total Recall, he’ll be back.
Watching Troopers is a much different experience than watching, order, Aliens. While both are oriented some the in large quantities slaughter of an stranger race (giant bugs this time), Aliens treats its plot with complete distressfulness. Troopers is a bit more underhand, feeding you a extra effects extravaganza (which include, in all honesty, some of the best I’ve ever seen) with one hand, and slapping you with the leather boxing glove of history with the other. In fact, what makes Troopers—and the holy Writ it’s based on, I’m told—so gratifying is its ode to fascism. Whether it’s Neil Patrick Harris in a fully-buttoned, black leather S.S. trench coat or the “I’m doing my part!” propagandist chants, the court is conspicuous. And, it’s an incredibly entertaining look into what must have been going through the minds of whitney Moore Young Jr. Nazi recruits.
If this isn’t sufficiency to interest you, Verhoeven doesn’t pull whatever stops with the total tilt cheesefest. The cast of the likes of the whiter-than-white Harris, Meyer, Richards, and Van Dien as Argentinians is the first tip-off that you’re in for a screamer of a time. But wait, there’s more! Troopers has sadistic drill sergeants, co-ed grouping showers, and some of the richest dialogue in cinema. One of the best lines comes from Muldoon’s Zander, directed at the bugs, when he screams “One day somebody like me is gonna kill you and your whole FUCKIN' RACE!”
So cut Paul some slack and check out Starship Troopers. Throw in Showgirls for a really tasty double feature. After all, it’s going to take some solid telecasting rental revenues to make sure Verhoeven gets backing for another big-budget free-for-all.
And hey... I’m doing my part!
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