Friday 11 July 2008

Vengeance Rising

Vengeance Rising   
Artist: Vengeance Rising

   Genre(s): 
Metal: Heavy
   



Discography:


Released Upon The Earth   
 Released Upon The Earth

   Year: 2000   
Tracks: 10


Once Dead   
 Once Dead

   Year: 2000   
Tracks: 13


Human Sacrifice   
 Human Sacrifice

   Year: 1993   
Tracks: 13


Destruction Comes   
 Destruction Comes

   Year: 1991   
Tracks: 10




Vengeance Rising has one of the most entertaining and freaky stories in the land of heavy alloy. Formed in 1987 by singer Roger Martinez, guitarists Larry Farkes and Doug Theime, bassist Roger Dale Martin, and drummer Glenn Mancaruso, the ring was a Christian variation on the emerging death metal scene. This lineup produced two albums that were brobdingnagian successes in the globe of Christian music, fashioning them ane of the few bands in the literary genre to cross over into the secular euphony scene. They played both religious and non-religious festivals and tried and true to feast their message as far as possible. Martinez became very involved in the modus vivendi, producing video tapes about Christianity and forming alliances with other big-name Christian leadership. Unfortunately, when they chequered their bank account statement after the Once Dead tour, they discovered that they had mismanaged their funds and were hopelessly in debt. Everyone simply Martinez bailed and formed Die Happy, and he scrambled to form some other lineup. He establish drummer Chris Hyde and guitarist Derek Sean and continued forrad with himself on bass. Despite cathartic two more than albums and marketing a respectable sum of copies, he was nowhere close to clearing his fiscal woes and the band fell apart in the early 90s. Struggling with his faith and the striving of his position, he vehemently broke from the religious environment he had encircled himself with and began the second half of his life history by announcing his godlessness. He began to seduce tapes counteracting the tapes he made during his Christian career, and re-formed Vengeance Rising with a new lineup and a unquestionably angrier message. He formed a site that renounced his late output signal and posted articles most Christian leaders that were aimed at making them look dopey. His former associates in the religious existence were outraged and his name became synonymous with "falling from grace," something Martinez reveled in and emphatic. He released the Satanic Realms of Blasthemy on Halloween of 2000, piece he continued his efforts through a hilarious and middling worrisome question in the magazine Mean, where he provided a counterpoint to the opinions of Christian leader Bob Larson. When the tragical terrorist hijackings of 2001 happened, Martinez offered a release record album from his situation for military personal only to further the sanctum war he invariably talked about. Providing endlessly entertaining fodder for interviews, Martinez managed to re-create his possess calling in such a unique manner that his tale continues to be interesting years after the most substantial part of his melodious life history.






Grouch

Grouch   
Artist: Grouch

   Genre(s): 
Electronic
   



Discography:


My Baddest Bitches (cd1)   
 My Baddest Bitches (cd1)

   Year: 2005   
Tracks: 13




 






Angela

Angela   
Artist: Angela

   Genre(s): 
Other
   



Discography:


Shangri-La   
 Shangri-La

   Year: 2004   
Tracks: 4




 






R. Kelly Fan Who Yelled At Jury Released From Jail After 34 Days

An R. Kelly fan who yelled "Free R. Kelly!" at the jury druing the singer's  child pornography case was released from jail yesterday (June 25) after thirty four  days.
Debra Triplett, 48, was jailed on a contempt of court charge in May for screaming her support for Kelly at the jury as they stepped off a courthouse elevator.
Triplett remained in jail until Wednesday because she was unable to post the $5,000 cash bail imposed on her by the judge.
Upon her release, Triplett told The Chicago Tribune that she felt that Kelly should have paid her bail.
"For sure he should have stepped up," Triplett said. "R. Kelly, you should have stepped up!"
Kelly was acquitted on all 14 counts in his child pornography case by the aforementioned Chicago jury on June 13th.

Bo Diddley

Bo Diddley   
Artist: Bo Diddley

   Genre(s): 
Rock
   Jazz
   R&B: Soul
   Retro
   Blues
   



Discography:


Bo Diddley Rides Again-Bo Diddley in the Spotlight   
 Bo Diddley Rides Again-Bo Diddley in the Spotlight

   Year: 2002   
Tracks: 24


His Best : The Chess 50th Anniversary Collection   
 His Best : The Chess 50th Anniversary Collection

   Year: 1997   
Tracks: 20


A Man Amongst Men   
 A Man Amongst Men

   Year: 1996   
Tracks: 10


Gold Collection   
 Gold Collection

   Year: 1995   
Tracks: 14


The Chess Box   
 The Chess Box

   Year: 1990   
Tracks: 45


Go Bo Diddley   
 Go Bo Diddley

   Year: 1986   
Tracks: 12


The 20th Anniversary Of Rock 'N' Roll   
 The 20th Anniversary Of Rock 'N' Roll

   Year: 1976   
Tracks: 10


500% More Man   
 500% More Man

   Year: 1965   
Tracks: 12


Bo Diddley   
 Bo Diddley

   Year: 1963   
Tracks: 11


Signifying Blues   
 Signifying Blues

   Year:    
Tracks: 14


Rare and Well Done   
 Rare and Well Done

   Year:    
Tracks: 16


Collection (Boogie Woogie)   
 Collection (Boogie Woogie)

   Year:    
Tracks: 2


Bo's Guitar   
 Bo's Guitar

   Year:    
Tracks: 1


Bo Diddley and Muddy Watters   
 Bo Diddley and Muddy Watters

   Year:    
Tracks: 14




He only had a few hits in the fifties and early '60s, only as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't pass judgment an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early bikers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is nonpareil of rock & roll's basics rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmical attack and large, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His stylemark nonnatural vibrating, blurred guitar style did much to extend the instrument's office and chain. But even more authoritative, Bo's bounce was playfulness and overwhelmingly rocking, with a wisecracking, jiving tone that epitomized stone & roll at its most humorously off-the-wall and devil-may-care.


Earlier pickings up blue devils and R&B, Diddley had actually studied classical violin, only shifted gears after hearing John Lee Hooker. In the early '50s, he began acting with his longtime partner, maraca instrumentalist Jerome Green, to catch what Bo's called "that consignment groom reasoned." Billy Boy Arnold, a fine vapours harmonica player and isaac Bashevis Singer in his have right, was too playing with Diddley when the guitar player got a consider with Chess in the mid-'50s (after being turned down by match Chicago label Vee-Jay). His very first single, "Bo Diddley"/"I'm a Man" (1955), was a double-sided ogre. The A-side was squiffy with futurist waves of tremolo guitar, set to an ageless greenhouse rhyme; the flip was a bump-and-grind, harmonica-driven mix, based about a annihilating blues riffian. But the solvent was non exactly vapours, or even straight R&B, but a new kind of guitar-based rock & roll, wet in the blue devils and R&B, but undischarged allegiance to neither.


Diddlyshit was never a top vender on the order of his Chess rival Chuck Berry, but o'er the succeeding half-dozen or so old age, he'd grow a catalog of classics that rival Berry's in timbre. "You Don't Love Me," "Diddly-shit Daddy," "Pretty Thing," "Diddy Wah Diddy," "World Health Organization Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover" -- all ar stone-cold standards of early, riff-driven stone & roll at its funkiest. Oddly enough, his merely Top 20 pop come to was an atypical, laughable backward and forward hip-hop between him and Jerome Green, "Say Man," that came about nearly by accident as the pair were casual roughly in the studio.


As a live performer, Diddley was electric, using his trademark square guitars and deformed amplification to produce new sounds that awaited the innovations of '60s guitarists like Jimi Hendrix. In Great Britain, he was venerable as a giant on the order of Chuck Berry and Muddy Waters. The Rolling Stones in particular borrowed a mint from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Anglesea" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things as well covered Diddley standards in their early years. Buddy Holly covered "Bo Diddley" and put-upon a modified Bo Diddley beat on "Non Fade Away"; when the Stones gave the song the full-on Bo treatment (complete with shaking maracas), the solvent was their number one full-grown British attain.


The British Invasion helped increase the public's sentience of Diddley's importance, and of all time since then he's been a popular live act as. Sadly, though, his life history as a recording artist -- in commercial and artistic price -- was over by the metre the Beatles and Stones attain America. He'd record with on-going and declining frequency, but later 1963, he'd never write or record whatever original material on par with his early classics. Whether he'd fagged his muse, or just felt he could sea-coast on his honor, is unvoiced to order. But he remains a life-sustaining function of the corporate stone & roll consciousness, occasionally reaching wider visibility via a 1979 term of enlistment with the Clash, a cameo character in the film Trading Places, a late-'80s go with Ronnie Wood, and a 1989 television commercial for sports place with headliner jock Bo Jackson.






Lyfe Jennings Reveals ?Baby I?m A Star? Tour and HIV/Aids Campaign

R&B singer/songwriter Lyfe Jennings kicked off the first concert of his summer tour over the weekend. Billed as the ?Baby I?m A Star? Tour, the ov...


Moria

Moria   
Artist: Moria

   Genre(s): 
Metal: Death,Black
   



Discography:


Skogsfrun   
 Skogsfrun

   Year: 2001   
Tracks: 9




 






Ini Kamoze

Ini Kamoze   
Artist: Ini Kamoze

   Genre(s): 
Reggae
   R&B: Soul
   Rap: Hip-Hop
   



Discography:


Debut   
 Debut

   Year: 2006   
Tracks: 34


The Hotsteppers   
 The Hotsteppers

   Year: 2005   
Tracks: 1


Lyrical Gangster   
 Lyrical Gangster

   Year: 1995   
Tracks: 16


Here Comes the Hotstepper   
 Here Comes the Hotstepper

   Year: 1995   
Tracks: 1


16 Vibes of Ini Kamoze   
 16 Vibes of Ini Kamoze

   Year: 1992   
Tracks: 16


Shocking Out   
 Shocking Out

   Year: 1987   
Tracks: 10


Pirate   
 Pirate

   Year: 1986   
Tracks: 8


Statement   
 Statement

   Year: 1984   
Tracks: 8


Ini Kamoze   
 Ini Kamoze

   Year: 1984   
Tracks: 6




For Ini Kamoze, the road to success has been arduous and he has undergone many real changes musically and physically since he bristle onto the music scene in 1983 with his highly successful eponymic debut record album for Island. Known as "The Hotstepper," Kamoze advocates change through what he calls "intelligent and constructive militance" instead than random acts of violence.


Kamoze made his recording debut in the early '80s with a 12" single "Trouble You a Trouble Me" on Taxi and establish immediate success. He then began touring as character of the Taxi Connection International Tour with Yellowman and Half Pint. During this time, Kamoze was 6' tall, reed thin and appeared also frail to contain his powerful microscope stage front. He followed up his first album success with Plagiariser, but the recording received mixed reactions and wasn't as successful. Kamoze and so retaliated with various hit singles recorded on his Slekta label. One of the biggest hits from this period was "Lurid Out" which was finally picked up by the RAS label in 1988. In 1985, Kamoze had greater success with Settle with Me, which produced such hits as "C all the Police" and "Taxi with Me." By 1988, Kamoze's successes became intermittent and his vocation quicksilver. Kamoze suddenly disappeared from the music scene. He returned with a new, more aggressive mental image in 1994, signing to Sony and exploded gage into the charts with "Here Comes the Hotstepper." The song made its debut on the compiling reggae album Stir It Up from Columbia, and and so showed up on the soundtrack of Robert Altman's feature celluloid Pret-A-Porter. Produced by Salaam Remi, it was released as a individual in 1995 and exhausted deuce weeks at the top of Billboard's Hot Singles Chart, and virtually iV months appearing on various other charts. Kamoze made a video for the vocal and with his husky, well-muscled flesh and long dreadlocks, no thirster fit the description of the liner notes on his 1983 debut record album that characterized him as a "pencil fragile....disentangled....six-foot vegetarian." With the success of his new single, Kamoze was forthwith a gangster and began a series of promotional tours in LA. Kamoze refused to categorize his music and remained open to tattle a diversity of songs from different sources, simply he took a x longsighted break in front surfacing over again. When he did, it was with Debut, a 2006 album that featured rerecordings of his early hits.





Lunz