Fightstar kicked off the final day on Download's Main Stage today (June 15).
Graduating to the festival's top table, the Britrockers were the first major act to play what is being referred to by some of the crowd as "emo day" � with sets to come from Jimmy Eat World and Lostprophets.
Now firmly embedded in the rock fraternity, the show was a far cry from the band�s early days, when former boyband star Charlie Simpson was regularly pelted with bottles when appearing at festivals.
Moreover, before the final track, 'Deathcar', Simpson implored the crowd to form the festival's traditional 'circle-pit', and they enthusiastically responded.
Download has been a family affair for Simpson with his brother Will's band Brigade playing yesterday on the Gibson Stage.
Fightstar played:
'Palaniuk's Laughter'
'Grand Unification'
'Tannhauser'
'I Am The Message'
'Paint Your Target'
'Build An Army'
'Deathcar'
Keep up with this weekend's (June 13-15) festival action as it happens on NME.COM. For news, pictures and blogs keep checking the NME.COM's Isle Of Wight Festival page and NME.COM's Download Festival page for live coverage from both sites.
Thursday, 26 June 2008
Wednesday, 25 June 2008
Joe Zawinul
Artist: Joe Zawinul
Genre(s):
Jazz
Pop
Folk
Discography:
Brown Street
Year: 2007
Tracks: 10
My People
Year: 2006
Tracks: 11
Faces and Places
Year: 2002
Tracks: 13
Dialects
Year: 2002
Tracks: 7
Stories of the Danube
Year: 1996
Tracks: 10
The Rise and Fall of the Third Stream-Money in the Pocket
Year: 1994
Tracks: 15
Zawinul
Year: 1990
Tracks: 5
World Tour Zawinul Syndicate
Year:
Tracks: 15
Joe Zawinul belongs in a category unto himself -- a European from the heartland of the classical music custom (Capital of Austria) wHO knowing to swing as freely as whatever American jazzer, and whose appetency for increase and variety remains unsatiable. Zawinul's wonder and receptiveness to all kinds of sounds made him unrivalled of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and afterward, he would be nigh alone in exploring fusions between jazz-rock and cultural music from all over the ball. He is one of a bare handful of synthesizer players wHO really knowing how to meet the instrumental role, to get it an expressive, swinging role of his arsenal. Prior to the conception of the portable synthesizer, Zawinul's example helped land the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul likewise has became a significant composer, ranging (like his beau ideal Duke Ellington) from soulful hit tunes to large-scale symphonic nothingness canvases. Yet despite his classical background knowledge, he now prefers to extemporise compositions spontaneously onto tape measure, not write them out on newspaper.
At vI, Josef Erich Zawinul started to represent the squeeze box in his aboriginal Austria, and studies in classical forte-piano and constitution at the Vienna Conservatory soon followed. His interest in jazz pianoforte, ab initio influenced by George Shearing and Erroll Garner, light-emitting diode to jobs with Austrian saxophonist Hans Koller in 1952 and gigs with his possess trio in France and Germany. He emigrated to the United States in late 1958 later on winning a scholarship to Berklee, yet later on barely unrivalled hebdomad in division, he left to join Maynard Ferguson's ring for eight months, where Miles Davis first base took card of him. Following a brief stay with Slide Hampton, Zawinul became Dinah Washington's pianist from 1959 to 1961, and then spent a month with Harry "Sweets" Edison before Cannonball Adderley picked him to make full the forte-piano president in his fivesome. There Zawinul stayed and blossomed for iX years, conducive several compositions to the Adderley ring account book -- among them the major pop slay "Mercifulness, Mercy, Mercy," "Walk Tall," and "Country Preacher" -- and at last serving to steer the Adderley group into the electronic geological era. While with Adderley, Zawinul evolved from a severe boP piano player to a soul-jazz performing artist hard steeped in the blues, and at last a jazz-rock explorer on the electric forte-piano. Toward the goal of his Adderley gig (1969-1970), he was correct in the thick of the new jazz-rock scene, recording various pioneering records with Miles Davis, contributory the claim tune of Davis' In a Silent Way album.
Later on transcription a self-titled solo record album, Zawinul left Adderley to phase Weather Report with Wayne Shorter and Czech bassist Miroslav Vitous in November 1970. Weather Report gave the more and more self-confident Zawinul a platform to evolve regular farther as his pursuit in propulsive grooves and music from Africa and the Middle East kindled and highly-developed. He step by step dropped the electric pianoforte in favour of a series of ever so more sophisticated synthesizers, which he down to levels ne'er thought possible by those world Health Organization derided the instruments as sterile, unfeeling machines. Weather Report finally became a popular radical that appealed to audiences beyond nothingness and progressive rock, thanks in no small character to Zawinul's pip song "Birdland."
When Zawinul and Shorter finally came to a leave of shipway in 1985, Zawinul started to tour all by himself, encircled by keyboards and rhythm method of birth control machines, but resurfaced the undermentioned class with a ephemeral extension of Weather Report called Weather Update (which did not go out whatever recordings). Weather Update chop-chop evolved into some other radical, the Zawinul Syndicate, which over the span of a decennary atilt more and more toward groove-oriented public music influences. Zawinul has showed renewed stake in his European roots, collaborating with fellow Viennese classic pianist Friedrich Gulda from 1987 to 1994, producing a matured classically based symphony, Stories of the Danube, in 1993, and following the near-disastrous Malibu fires of 1994, moving from California to New York City in monastic order to be closer to Europe. In 2002 he released Faces & Places, his first-class honours degree studio record album in several years and 1 that boasted an international roster of encouraging musicians. Since that clip he has released a handful of albums including Midnight Jam in 2005 and John Brown Street in 2007.
Though he continues to research new musical paths at an age when most jazzers are long set in their ways, Zawinul's influence upon jazz has waned in recent years referable to the jazz mainstream's retreat from electronics second to acoustic post-bop. But Zawinul's uplifting, still-invigorating later music may make him a prophet again if orbicular music infiltrates the jazz worldly concern.
The Rolling Stones 'not signing to Madonna and Jay-Z's label'
The Rolling Stones, whose contract with record label EMI expired in February this year, have denied that they are set to sign a multi-million pound record deal with concert promoter Live Nation.
Rumours that The Rolling Stones were set to sign with Live Nation � with whom the likes of Madonna and Jay-Z have lucrative contracts � were circulating on Sunday (June 15).
However, the band have since issued a statement denying they have had any contact with the company.
The statement read: "We are not in talks with Live Nation in connection with any record deal".
Rumours that The Rolling Stones were set to sign with Live Nation � with whom the likes of Madonna and Jay-Z have lucrative contracts � were circulating on Sunday (June 15).
However, the band have since issued a statement denying they have had any contact with the company.
The statement read: "We are not in talks with Live Nation in connection with any record deal".
Tuesday, 24 June 2008
PLIES
S “Definition of Real” (Big Gates/ Slip-N-Slide/Atlantic): C-
This so-called definition of real is actually the definition of what’s wrong with hip-hop. Florida native Plies fills his sophomore album with insert-’hood-cliche-here rhymes that offer absolutely nothing new. The only thing more incomprehensible than a song called “Who Hotter Than Me” from a rapper with negligible wit and
talent is a record label that puts stock in him. Download: “Somebody (Loves You).”
This so-called definition of real is actually the definition of what’s wrong with hip-hop. Florida native Plies fills his sophomore album with insert-’hood-cliche-here rhymes that offer absolutely nothing new. The only thing more incomprehensible than a song called “Who Hotter Than Me” from a rapper with negligible wit and
talent is a record label that puts stock in him. Download: “Somebody (Loves You).”
David Israelite confirms royalties breakthrough
Settlement near for two of five rates set by CRB
NEW YORK -- The publishers, record labels and digital music providers have hammered out a settlement on two of the five royalty rates scheduled to be set in October by the U.S. Copyright Royalty Board, according to National Music Publishers' Assn. president and CEO David Israelite.
But the details will remain confidential until they are presented to the three U.S. judges sitting on the board, who must approve and set the rates, Israelite added at the trade association's annual meeting, held in New York at the Marriott Marquis on Wednesday.
So far, the three sectors have reached an agreement on the rates for limited downloads and Internet streaming, but they could not reach a settlement on the other three rates: digital permanent downloads, physical product and ringtones.
Consequently, each sector will file briefs and documentation supporting their respective stances by July 2, with closing arguments expected to be made by July 4. Then, the three U.S. judges on the board are expected to announce the new rates for the next five years in October, according to a slide that accompanied Israelite's presentation.
In other news, he said the trade association was diligent in monitoring, helping to author and present music publishers viewpoints on legislation that could impact intellectual property. Among the bills, he discussed were: H.R. 5889, which impacts how "orphan works" are treated; the Performance Rights Act H.R. 4789, which says that song performers should receive compensation from terrestrial broadcasts; and H.R. 4279, which aims to improve enforcement of intellectual property rights both at home and abroad.
On the litigation front, he said last year the association has joined the class action lawsuit against YouTube and that it had filed a federal lawsuit against XM Satellite and that it had negotiated the Bertelsmann/Napster settlement. Finally, Israelite said the association has been aggressive in tackling the tablature and lyric sites, pointing out that 62 such sites have been shut down, while others have taken down copyrighted content, and one is even seeking a license so that it can continue to operate.
Earlier, MPAA chairman and CEO Dan Glickman delivered the keynote address, noting that his organization would work with Washington and governments around the world to safeguard intellectual property rights because it is important to the economy as well as important to the creators.
Glickman added that piracy and counterfeiting cost the motion picture industry $18 billion a year.
He pointed out that music, movies and other arts are important because they make a difference in people's lives. He relayed a comment by a U.S. founding father, John Adams, who said that he studied politics and war so his children might be able to study science and math so that their children can study poetry and music. Specific hedge funds won't be remembered 600 years from now, but what this generation produced artistically is how it will be remembered by the future.
The event closed with a performance by Amy Lee of Evanescence, who was named the organizations 2008 Songwriter Icon Award honoree. The NMPA also presented its Gold and Platinum Composition Awards to songwriters Toby Gad for Big Girls Don't Cry"; Taylor Swift for "Our Song" and "Teardrops on My Guitar"; Mikkel Eriksen and Tor Hermansen for "Unfaithful", "Tattoo", "With You" and "Wait for You"; Amanda Ghost for "Tattoo"; Philip Lamont Jackson for "Wait for You"; and Carl Sturken and Evan Rogers for "Pon de Replay."
NEW YORK -- The publishers, record labels and digital music providers have hammered out a settlement on two of the five royalty rates scheduled to be set in October by the U.S. Copyright Royalty Board, according to National Music Publishers' Assn. president and CEO David Israelite.
But the details will remain confidential until they are presented to the three U.S. judges sitting on the board, who must approve and set the rates, Israelite added at the trade association's annual meeting, held in New York at the Marriott Marquis on Wednesday.
So far, the three sectors have reached an agreement on the rates for limited downloads and Internet streaming, but they could not reach a settlement on the other three rates: digital permanent downloads, physical product and ringtones.
Consequently, each sector will file briefs and documentation supporting their respective stances by July 2, with closing arguments expected to be made by July 4. Then, the three U.S. judges on the board are expected to announce the new rates for the next five years in October, according to a slide that accompanied Israelite's presentation.
In other news, he said the trade association was diligent in monitoring, helping to author and present music publishers viewpoints on legislation that could impact intellectual property. Among the bills, he discussed were: H.R. 5889, which impacts how "orphan works" are treated; the Performance Rights Act H.R. 4789, which says that song performers should receive compensation from terrestrial broadcasts; and H.R. 4279, which aims to improve enforcement of intellectual property rights both at home and abroad.
On the litigation front, he said last year the association has joined the class action lawsuit against YouTube and that it had filed a federal lawsuit against XM Satellite and that it had negotiated the Bertelsmann/Napster settlement. Finally, Israelite said the association has been aggressive in tackling the tablature and lyric sites, pointing out that 62 such sites have been shut down, while others have taken down copyrighted content, and one is even seeking a license so that it can continue to operate.
Earlier, MPAA chairman and CEO Dan Glickman delivered the keynote address, noting that his organization would work with Washington and governments around the world to safeguard intellectual property rights because it is important to the economy as well as important to the creators.
Glickman added that piracy and counterfeiting cost the motion picture industry $18 billion a year.
He pointed out that music, movies and other arts are important because they make a difference in people's lives. He relayed a comment by a U.S. founding father, John Adams, who said that he studied politics and war so his children might be able to study science and math so that their children can study poetry and music. Specific hedge funds won't be remembered 600 years from now, but what this generation produced artistically is how it will be remembered by the future.
The event closed with a performance by Amy Lee of Evanescence, who was named the organizations 2008 Songwriter Icon Award honoree. The NMPA also presented its Gold and Platinum Composition Awards to songwriters Toby Gad for Big Girls Don't Cry"; Taylor Swift for "Our Song" and "Teardrops on My Guitar"; Mikkel Eriksen and Tor Hermansen for "Unfaithful", "Tattoo", "With You" and "Wait for You"; Amanda Ghost for "Tattoo"; Philip Lamont Jackson for "Wait for You"; and Carl Sturken and Evan Rogers for "Pon de Replay."
Femi Kuti
Artist: Femi Kuti
Genre(s):
Folk
Electronic
Other
Discography:
The Definitive Collection CD2
Year: 2007
Tracks: 10
The Definitive Collection CD1
Year: 2007
Tracks: 12
Africa Shrine
Year: 2004
Tracks: 14
Shoki Shoki
Year: 2003
Tracks: 9
Fight to Win
Year: 2002
Tracks: 12
Shoki Remixed
Year: 1999
Tracks: 8
The word of Afro-beat caption Fela Anikulapo-Kuti, Femi Kuti worn-out age playing in his father's band in front finally rising to superstardom following his father's death in the later '90s. Since few artists can match his father's bequest of not only euphony but influence, Femi's relation as his son is both a approving and a curse. On the one hand, it's ne'er been unmanageable for Femi to garner crusade or attention, and MCA went out of its way to fight his career with ludicrous amounts of publicity. Yet on the other hand, no matter his item-by-item accomplishments, Femi will forever be known as Fela's boy. Practicing a similar flair of Afro-beat as his padre, Femi helped acquaint the percussive blending of malarky and funk medicine to the external hoi polloi outset in the mid-'90s, along with his father's same signified of political activism. After his father's death in 1997, Femi suddenly found himself the subject of vast attention. He responded by signing with MCA and embarking on his solo career outset with Shoki Shoki. He won enormous vital celebration about the globe and began making efforts to break into the U.S. mainstream in sequential years.
Innate in London and raised in Lagos, Nigeria, Femi's musical career started when he began playing in his father's band, Egypt 80. In 1986, Femi started his possess isthmus, Positive Force, and began establishing himself as an creative person independent of his father's massive bequest. In the mid-'90s, Motown offered him a record deal with its dress shop label, Tabu. Femi's eponymic debut record album resulted. Released in 1995, the record album south Korean won congratulations passim Europe and Africa for offering a more streamlined and accessible adaptation of his father's medicine. Femi embarked on an protracted promotional hitch, crossover get-go Africa, then Europe in 1996 and 1997. His solo career was off to a successful start, despite the dissolution of Motown's Tabu label and Femi's record deal with it.
However, this problem became the least of Femi's concerns when his padre sadly died of AIDS-related complications in 1997. Shortly later on, his sister, Sola, as well suffered an untimely destruction, making 1997 a genuinely dark year for Femi. He would later write "'97," a strain that frankly reflects on this peculiarly tragic time. Yet with cataclysm comes opportunity in the earthly concern of music, and Femi at long last signed a major-label record deal with Polygram in December 1997, only months subsequently his father's destruction. MCA made the most out of the situation, repackaging, and re-releasing much of Fela's catalogue and setting the stage for Femi's MCA debut album in the sue. Following months of press and hype, MCA released Shoki Shoki in early 1999 to widespread hail from a number of honored publications like the New Yorker, Rolling Stone, and Vibe, non to mention former smaller publications.
A twelvemonth later, Femi returned with his s album, Fight to Win, and toured the States with Jane's Addiction in an exploit to crossover to a more than mainstream audience. Part of this crossover feat meant positioning himself closer to hip-hop and its mammoth audience. Fight to Win featured a phone number of well-thought-of rap artists like Mos Def and Common. As expected, critics far-famed the record album, though western masses seemed kind of indifferent to both the album and Femi's concert trek with Jane's Addiction.
Movies and mp3 music
Clooney's Ex: America's Next Top Nobody
A year ago you're a cocktail waitress in Vegas, and bam! Clooney gets a hold of you, and now you're the most famous ex in Hollywood.
Making a very deliberate stroll down Robertson Blvd. yesterday, Sarah Larson was slammed with questions -- including her rumored boob job.
See Also
Making a very deliberate stroll down Robertson Blvd. yesterday, Sarah Larson was slammed with questions -- including her rumored boob job.
See Also
Eternal Mourning
Artist: Eternal Mourning
Genre(s):
Metal
Discography:
Delusion and Dementia
Year: 2001
Tracks: 9
Ape applicant vies for star on Walk of Fame
Lee Haslam and Mearns
Artist: Lee Haslam and Mearns
Genre(s):
Trance
Discography:
Collaborations EP Part 1
Year: 2007
Tracks: 2
Did Dr. Jiffy Lube Tune Up Shauna Sand?
If you're a plastic surgeon, and Shauna Sand thinks you're shady, you know you're in trouble.
TMZ has learned that the skanktastic Sand was just one of 300 people that the Feds have contacted because they were "involved" with Dr. Daniel Serrano -- aka Dr. Jiffy Lube. Shauna tells us that Dr. Lube always "wanted" to work on her, but that she actually refused because she had a "bad feeling about him."
The government is giving these 300 saps -- including Vidal Sassoon, Mrs. Larry King and Diane Richie -- the chance to cash in on almost $2 million it seized from the good doc as punishment. Serrano has served nine months in prison and could be looking at a one-way ticket back to his native Argentina.
See Also
TMZ has learned that the skanktastic Sand was just one of 300 people that the Feds have contacted because they were "involved" with Dr. Daniel Serrano -- aka Dr. Jiffy Lube. Shauna tells us that Dr. Lube always "wanted" to work on her, but that she actually refused because she had a "bad feeling about him."
The government is giving these 300 saps -- including Vidal Sassoon, Mrs. Larry King and Diane Richie -- the chance to cash in on almost $2 million it seized from the good doc as punishment. Serrano has served nine months in prison and could be looking at a one-way ticket back to his native Argentina.
See Also
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