A video recording claiming to have captured the live sound from Britney Spears' microphone during a concert has been leaked onto the internet.
The clip features live footage of Spears performing in Las Vegas, along with audio allegedly taken straight from her microphone.
Ebaumsworld.com, the website where the telecasting was uploaded, states that the singer's live voice is "awful".
Spears has recollective faced allegations that her vocals ar mimed at concerts.
Watch the Britney Spears video at Ebaumsworld.com now.
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Saturday 6 September 2008
Sunday 17 August 2008
Download Spinetta mp3
 Artist: Spinetta: mp3 download Genre(s): Rock Latin Discography:  Camalotus Year: 2004 Tracks: 4  Para Los Arboles Year: 2003 Tracks: 12  Obras en vivo (2001) Year: 2002 Tracks: 12  Silver Sorgo Year: 2001 Tracks: 12  Los Ojos Year: 1999 Tracks: 14  San Cristoforo Year: 1998 Tracks: 12  Elija y Gane Year: 1998 Tracks: 18  MTV Estrelicia Year: 1997 Tracks: 14  Fuego Gris Year: 1993 Tracks: 17  Peluson Of Milk Year: 1991 Tracks: 15  Exactas Year: 1990 Tracks: 10  Don Lucero Year: 1989 Tracks: 9  Tester de Violencia Year: 1988 Tracks: 11  Priv Year: 1986 Tracks: 11  La La La Year: 1986 Tracks: 19  Mondo Di Cromo Year: 1985 Tracks: 13  Madre en alos luz Year: 1984 Tracks: 9  Kamikaze Year: 1982 Tracks: 11  Los Nidos Que Escriben En El Cielo Year: 1981 Tracks: 10  El Valle Interior Year: 1980 Tracks: 7  Almendra - En Obras Year: 1980 Tracks: 13  Alma De Diamante Year: 1980 Tracks: 7  Only Love Can Sustain Year: 1979 Tracks: 11  Spinetta a 18' del sol Year: 1977 Tracks: 8  Almendra 2 Year: 1970 Tracks: 17  Almendra (version rara) Year: 1969 Tracks: 20  Almendra Year: 1969 Tracks: 9 Spinetta -- wide cite Luis Alberto Spinetta -- is i of the nigh significant and influential figures in the development of rock music in Argentina. Renowned for his poetical lyrics, Spinetta emerged as a voice of john Rock & roll rebellion during a sentence of intense social fermentation, couching taboo social and political commentary in insidious metaphors that much incurred the wrath of the Argentine politics. Taking the Beatles -- and John Lennon in particular -- as his musical base, Spinetta added his possess South American hippy sensitivity early on, eventually branching kO'd into more progressive, rarify compositions steeped in nothingness harmony. He continued recording all the agency into the new millennium, left a well-respected figure in his home country. Spinetta was born January 23, 1950, in Buenos Aires, and grew up in the Belgrano territory; he began vocalizing and playacting guitar at a young age, making his television debut at age 14. Charged by his first encounter with the Beatles, the 17-year-old Spinetta formed a band called Almendra in 1967. Their 1969 debut record album, Almendra I, basically wrote the commencement significant chapter of the history of Argentine rock, producing a immense hit in the Spinetta paper "Muchacha (Ojos de Papel)." After the 1970 followup, Almendra II, the group splintered, and Spinetta recorded a guest-laden solo project, La Busqueda de la Estrella, credited to Spinettalandia y Sus Amigos. In 1972, Spinetta formed a unexampled group called Pescado Rabioso (Rabid Fish), a more aggressive stone outfit influenced by psychedelia and electrical blues-rock that produced some of his most groundbreaking ceremony work. The group recorded three albums over the socially roiled 1972-1973 period (the last, the acclaimed Artaud, was fundamentally a Spinetta solo album). In late 1973, Spinetta disbanded Pescado Rabioso and formed a raw grouping, Invisible, which marked a partial return to acoustic instruments and saw him commencement to contain malarky into his compositions. Additionally, his songwriting voice was ontogeny more provocative, and many Invisible songs came to be touchstones of the politically repressive times (indeed, both band and fans were sometimes captive after performances). As a pernicious material body of protestation, Spinetta's albums often featured nontextual matter by acquaintances world Health Organization disappeared under the Argentine totalitarianism. After three albums from 1974-1976 with Invisible, Spinetta stepped out under his have describe on 1977's A 18 del Sol, forming a new backing band that entered full-fledged jazz-rock territory. For the reexamination, he traveled to the U.S. in 1979 and recorded Only Love Can Sustain, an uncharacteristic album of jazzy, glibly produced piano pop he has since disavowed. Returning to Argentina, Spinetta briefly reunited Almendra earlier forming a raw grouping, Spinetta Jade, his most musically progressive contrive to date. Four albums followed from 1980-1984, as well as a duo of solo platters. With the return of democracy to Argentina in the mid-'80s, Spinetta went solo one time over again and recorded prolifically from 1986-1991, including an aborted externalize with Charly GarcÃa and a more successful collaborationism with the danton True Young Fito Paez. Apart from the 1993 film soundtrack Fuego Gris, Spinetta remained tacit for some time; his marriage ceremony dissolved in 1996, and he was romantically joined to model Carolina Peleretti. He in conclusion returned in 1997 with a stripped -- in time static musically progressive -- group, los Socios del Desierto (The Partners of the Desert); they released a self-titled debut and an MTV Unplugged installment that twelvemonth. San Cristóforo followed in 1998, as did the introverted Los Ojos in 1999. The solo project Silver Sorgo, featuring comment on the Argentine economic crisis, was released in 2001, earning Spinetta iI Latin Grammy nominations (C. H. Best Solo Rock Album and Best Rock Song, the latter for "El Enemigo"). |
Thursday 7 August 2008
Everyday superheroes turn weary as Comic-Con ends
They came, they bought, they stood in long lines and as the sprawling comic book convention Comic-Con drew to a close, capes dragged, make up ran, and thousands of previously chipper superheroes looked a little ragged.
Over the past iV days, the San Diego convention center of attention has been a mecca for 125,000 fans who came from about the world - many dressed as their pet superheroes - in search of all manner of comics-related books, movies, games, toys, information and free products.
They packed screenings of movies with names like Hamlet 2 and saw promotional trailers for early titles such as The Spirit.
They stood in lines that snaked around the building - sometimes for hours - to glimpse movie stars including Kiefer Sutherland, Keanu Reeves and Carmen Electra.
By many accounts, sales of toys, video recording games, T-shirts and other memorabilia were brisk, though less so than in recent years due to the electric current economic downswing, vendors said.
Daryl Graham, 37, an liveliness student from San Diego, said he found the latest super power action figures in just the right sizes to add to a collection he has been building since junior high school.
"As a collector, you want all your action figures to be even when you display them. You don't want your Batman an inch taller than your Spider-Man," Graham said.
But others expressed dashing hopes with what they see as the increasing commercialism of Comic-Con.
They say the convention, devoted to celebrating comic holy Scripture art, has been co-opted in recent years by large companies and Hollywood studios generating buzz for new movies and related products.
This year, scores of films were promoted ranging in genre from sci-fi and horror to funniness. Screenings and promotional trailers were shown, free items were handed out, and fans were drawn into scores of special exhibits.
"I only come for the comics and I think what has happened here is sad," said Robert Farrell, world Health Organization has attended Comic-Con since 1975.
He celebrated most traditional comics dealers appeared to be relegated to the edges of the cavernous exhibit charles Francis Hall. "I won't be sexual climax back succeeding year," he said.
Dale Roberts of Kentucky, who has sold vintage comic books at Comic-Con for the last 12 years, said traditional laughable book fans and vendors "are feeling marginalised".
"Comic-Con will tell you that what we have is a perception job and that comics have not been diminished in any way, they have just changed form," aforementioned a third base vendor, Chuck Rozanski.
He has been advent to Comic-Con since 1973 and says he has sold more than $100 million in comic books.
"We built this house and suddenly we're finding our furniture on the lawn. We let these fertile relatives in and dead we're not good enough to live here any longer," he said.
A spokeswoman for Comic-Con was not straight off available to comment.
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Tuesday 1 July 2008
Wire, Object 47
Wire are funky. In their last incarnation the legendary art punks treated the listener to the bracing menopausal thrashes of Send. Object 47 strips back the screaming noise and is driven along by sparse, toe tapping, head shaking, bouncy, slinky grooves.
Wire are funny. In fact they're hilarious. With the distortion turned down, you can hear the words, and sing the tunes. With their tongues firmly in their cheeks Colin Newman and Bruce Gilbert dismantle the technical, managerial vocabulary of what passes for communication these days. Then they put it back together in witty and sinister ways. So this is pop music. One Of Us and Mekon Headman shake their stuff and have great choruses.
Two tracks stand out. Patient Flees features twangy guitars and lazy, deep dub bass. Newman deadpans a bizarre tale of some horrifying operation. It sounds like a brilliant parody of U2 at their most pompous. It sounds like William Burroughs. It's great.
Are You Ready? features a lopsided, jolly rhythm over which Gilbert delivers a series of clichés twisted into truths. It's a PowerPoint from the management away day from hell. ''Are you true to your friends and loyal to your brand? / Do you still hold ambitions of being a man?''.
The head-banging Dalek stomp of All Fours ends the album on a rousing note. They may be middle-aged but I wouldn’t call Wire 'classic rock'. Is there a sub-genre called 'intelligent, adventurous, 21st century rock n roll'? That's what I call Wire.
See Also
Thursday 26 June 2008
Wednesday 25 June 2008
Gerry Mulligan
Artist: Gerry Mulligan
Genre(s):
Jazz
Discography:
Gerry Mulligan Quartet With Chet Baker
Year: 1953
Tracks: 24
Jazz Masters 36
Year:
Tracks: 12
The most far-famed and plausibly sterling jazz baritonist of all meter, Gerry Mulligan was a heavyweight. A flexible soloist world Health Organization was ever quick to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary wakeful well-grounded to his potentially awkward and fell horn and played with the speeding and dexterity of an altoist.
Mulligan started on the pianoforte before learning clarinet and the various saxophones. His initial reputation was as an organiser. In 1944 he wrote charts for Johnny Warrington's receiving set band and before long was qualification contributions to the books of Tommy Tucker and George Paxton. He touched to New York in 1946 and united Gene Krupa's Orchestra as a staff organiser; his most far-famed chart was "Disk Jockey Jump." The uncommon times he played with Krupa's striation was on alto and the same situation existed when he was with Claude Thornhill in 1948.
Gerry Mulligan's first-class honours degree noteworthy recorded exploit on baritone horn was with Miles Davis' Birth of the Cool nonet (1948-50) only at one time over again his arrangements ("Godchild," "Patch That Dream" and 3 of his originals "Jeru," "Rocking chair" and "Urania de Milo") were more than significant than his forgetful solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and acting anonymously in the sax segment. It was non until 1951 that he began to nonplus a bit of aid for his act upon on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable legal. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walk Shoes"), worked at the Lighthouse and then gained a even Monday night engagement at the Haig. Around this fourth dimension Mulligan accomplished that he enjoyed the supernumerary freedom of soloing without a piano player. He packed with trumpeter Chet Baker and soon their witching resonance was featured in his piano-less quartette. The group caught on quickly in 1952 and made both Mulligan and Baker into stars.
A drug raid place Mulligan out of action and over that quartette merely, when he was released from jailhouse in 1954, Mulligan began a new musical partnership with valve trombone player Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor now and again made the group a 6 and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. Being a very flexible player with regard for other stylists, Mulligan went out of his way to record with some of the not bad musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded discriminate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Legal of Jazz goggle box limited in 1958 and appeared in the movies I Want to Live and The Subterraneans.
During 1960-64 Mulligan light-emitting diode his Concert Jazz Band which gave him an opportunity to write, play baritone voice and once in a while double on pianissimo. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the large band stone-broke up just he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big lot in the 1970s (the Age of Steam), double on soprano for a period, lED a mid-'70s 6 that included vibraphonist Dave Samuels, and in 1986 packed on a record with Scott Hamilton. In the nineties he toured the world with his splendid "no-name" quartette and lED a "Renascence of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the goal, Gerry Mulligan was forever tidal bore to play.
Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Verbalize Chaos," "Soft Shoe," "Bernie's Tune," "Blueport," "Vocal for Strayhorn," "Vocal for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP.
Miriam Makeba
Artist: Miriam Makeba
Genre(s):
Pop
Ethnic
Discography:
Homeland
Year: 2000
Tracks: 10
Africa
Year: 1991
Tracks: 24
Pata Pata
Year: 1972
Tracks: 13
Welela
Year:
Tracks: 11
Following a ternary decennium retentive exile, Miriam Makeba's revert to South Africa was renowned as though a queen was restoring her monarchy. The response was fitting as Makeba remains the virtually authoritative female vocalist to come forth prohibited of South Africa. Hailed as The Empress Of African Song and Mama Africa, Makeba helped bring African music to a global hearing in the sixties. Nearly five decades afterwards her debut with the Manhattan Brothers, she continues to play an important function in the emergence of African music.
Makeba's life has been systematically marked by shin. As the girl of a sangoma, a mystic traditional healer of the Xhosa tribe, she exhausted sixer months of her birth year in gaol with her mother. Gifted with a dynamic vocal tone, Makeba recorded her debut individual, "Lakutshona Llange," as a member of the Manhattan Brothers in 1953. Although she left to build an all-female group named the Skylarks in 1958, she reunited with members of the Manhattan Brothers when she recognised the lead female role in a musical version of Billie Jean Moffitt King Kong, which told the tragical story of Black African boxer, Ezekiel "King Kong" Dlamani, in 1959. The same yr, she began an 18 calendar month enlistment of South Africa with Alf Herbert's musical extravaganza, African Jazz And Variety, and made an coming into court in a documentary film, Follow Back Africa. These successes light-emitting diode to invitations to perform in Europe and the United States.
Makeba was embraced by the African-American community. "Pata Pata," Makeba's signature tune was written by Dorothy Masuka and recorded in South Africa in 1956 ahead eventually becoming a major hit in the U.S. in 1967. In late-1959, she performed for four-spot weeks at the Village Vanguard in New York. She subsequently made a guest show during Harry Belafonte's groundbreaking concerts at Carnegie Hall. A double-album of the event, released in 1960, received a Grammy award. Makeba has continued to periodically reincarnate her collaborationism with Belafonte, cathartic an album in 1972 coroneted Miriam Makeba and Harry Belafonte. Makeba then made a especial edgar Guest appearance at the Harry Belafonte Tribute at Madison Square Garden in 1997.
Makeba's successes as a singer were too balanced by her point-blank views around apartheid. In 1960, the administration of South Africa revoked her citizenship. For the following thirty geezerhood, she was forced to be a 'citizen of the reality.' Makeba received the Dag Hammerskjold Peace Prize in 1968. After marrying radical Black militant Stokely Carmichael, many of her concerts were cancelled, and her recording contract with RCA was dropped, resulting in even more problems for the artist. She finally resettled to Guinea at the invitation of united States President Sekou Toure and agreed to serve well as Guinea's delegate to the United Nations. In 1964 and 1975, she addressed the General Assembly of the United Nations on the horrors of apartheid.
Makeba remained active as a musician over the years. In 1975, she recorded an album, A Promise, with Joe Sample, Stix Hooper, Arthur Adams, and David T. Walker of the Crusaders. Makeba coupled Paul Simon and South Africa 's Ladysmith Black Mambazo during their world-wide Graceland tour in 1987 and 1988. Two geezerhood later, she coupled Odetta and Nina Simone for the One Nation tour.
Makeba published her autobiography, Miriam: My Story, in English in 1988 and had it subsequently translated and published in German, French, Dutch, Italian, Spanish and Japanese. Following Nelson Mandela's spill from prison house, Makeba returned to South Africa in December 1990. She performed her first base concert in her fatherland in 30 years in April 1991. Makeba appeared in South African award-winning musical, Sarafina, in the persona of Sarafina's mother in 1992. Two geezerhood later, she reunited with her first base hubby, trumpeter Hugh Masekela, for the Tour Of Hope tour. In 1995, Makeba formed a charity administration to raise funds to help protect the women of South Africa. The same year, she performed at the Vatican's Nevi Hall during a world-wide broadcasted demonstrate, Christmas In The Vatican. Makeba's first base studio album in a x, Mother country, was released in 2000.
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