What are you listening to right now?
- Thread starter Andem
- Start date
Welcome to The Jungle, Guns n' Roses. It just came on the radio, forgot how much I liked that song.
RE: What are you listenin
I'm listening to some guy on the Shelagh Rogers show sing the same syllable over and over again. I think it's time to put on a cd.
I'm listening to some guy on the Shelagh Rogers show sing the same syllable over and over again. I think it's time to put on a cd.
RE: What are you listenin
I'm listening to the hum of my computer fan and the crunch of a Zero bar I'm eating fresh out of the fridge.
Mazhar ... is sexy babe a band, a song or a wishful thought?
I'm listening to the hum of my computer fan and the crunch of a Zero bar I'm eating fresh out of the fridge.
Mazhar ... is sexy babe a band, a song or a wishful thought?
8O 8O hopefully a song, but since he lists his interest as SEX well who knows :wink: better behave here tho, the wizard will wave his wand and abra ca dabra poof all gone. :wink:
It's pay-day today!
You could right-click and choose "save target as"
Robert Cray - When The Welfare Turns It's Back On You
This link is no longer active
http://www.pair-annoyed.com:9090/!DL/RobertCray-WhenTheWelfareTurnsItsBackOnYou.mp3
Robert Cray
Album Active Decades: '70s, '80s, '90s and '00s
Genre Blues
Bio aka: Robert Cray Band
Active Decades: '70s, '80s, '90s and '00s
Born: 8/1/1953 in Columbus, GA
Genre: Blues
Styles: Modern Electric Blues, Contemporary Blues, Retro-Soul
Tin-eared critics have frequently damned him as a yuppie blues wanna-be whose slickly soulful offerings bear scant resemblance to the real downhome item. In reality, Robert Cray is one of a precious few active blues artists with the talent and vision to successfully usher the idiom into the future without resorting either to slavish imitation or simply playing rock while passing it off as blues. Just as importantly, his immensely popular records helped immeasurably to jump-start the contemporary blues boom that still holds sway to this day. Blessed with a soulful voice that sometimes recalls '60s-great O.V. Wright and a concise lead guitar approach that never wastes notes, Cray's ascendancy was amazingly swift -- in 1986 his breakthrough Strong Persuader album for Mercury (containing "Smoking Gun") won him a Grammy and shot his asking price for a night's work skyward. Unlike too many of his peers, Cray continues to experiment within his two presiding genres, blues and soul. Sets such as Midnight Stroll, I Was Warned and Shame + a Sin for Mercury show that the "bluenatics" (as he amusedly labels his purist detractors) have nothing to fear and plenty to anticipate from this innovative, laudably accessible guitarist.
Notes:
Bluesman Robert Cray has occasionally been critized for mixing pop and funk elements in his music but no such criticism can be made about this CD reissue of his recording debut. It seems obvious in hindsight from the music that Cray would become a star for his appealing voice and strong guitar playing manage to both update and reinforce the blues tradition. This superior if brief (under 36-minute) session is recommended to all lovers of the blues. — Scott Yanow
You could right-click and choose "save target as"
Robert Cray - When The Welfare Turns It's Back On You
This link is no longer active
http://www.pair-annoyed.com:9090/!DL/RobertCray-WhenTheWelfareTurnsItsBackOnYou.mp3
Robert Cray
Album Active Decades: '70s, '80s, '90s and '00s
Genre Blues
Bio aka: Robert Cray Band
Active Decades: '70s, '80s, '90s and '00s
Born: 8/1/1953 in Columbus, GA
Genre: Blues
Styles: Modern Electric Blues, Contemporary Blues, Retro-Soul
Tin-eared critics have frequently damned him as a yuppie blues wanna-be whose slickly soulful offerings bear scant resemblance to the real downhome item. In reality, Robert Cray is one of a precious few active blues artists with the talent and vision to successfully usher the idiom into the future without resorting either to slavish imitation or simply playing rock while passing it off as blues. Just as importantly, his immensely popular records helped immeasurably to jump-start the contemporary blues boom that still holds sway to this day. Blessed with a soulful voice that sometimes recalls '60s-great O.V. Wright and a concise lead guitar approach that never wastes notes, Cray's ascendancy was amazingly swift -- in 1986 his breakthrough Strong Persuader album for Mercury (containing "Smoking Gun") won him a Grammy and shot his asking price for a night's work skyward. Unlike too many of his peers, Cray continues to experiment within his two presiding genres, blues and soul. Sets such as Midnight Stroll, I Was Warned and Shame + a Sin for Mercury show that the "bluenatics" (as he amusedly labels his purist detractors) have nothing to fear and plenty to anticipate from this innovative, laudably accessible guitarist.
Notes:
Bluesman Robert Cray has occasionally been critized for mixing pop and funk elements in his music but no such criticism can be made about this CD reissue of his recording debut. It seems obvious in hindsight from the music that Cray would become a star for his appealing voice and strong guitar playing manage to both update and reinforce the blues tradition. This superior if brief (under 36-minute) session is recommended to all lovers of the blues. — Scott Yanow
Hey! PeaPod
Find what?
You mean the tunes?
I collected them off the net.
You mean the biography?
When I download a song, I choose the pic that is going into the album-pic place. I find a publicity photo of my choosing if possible.
I also find the biography and copy/paste it into the track-tag. All my tunes have a biography in the tag.
I don't care which album the tune is from .... that is why I put the "Active Decades" as name of "Album". When I view my tune library and view them by "Ablum" .... I'm able to choose a tune by era or decade.
Music Match site has all this information.
Calm
Find what?
You mean the tunes?
I collected them off the net.
You mean the biography?
When I download a song, I choose the pic that is going into the album-pic place. I find a publicity photo of my choosing if possible.
I also find the biography and copy/paste it into the track-tag. All my tunes have a biography in the tag.
I don't care which album the tune is from .... that is why I put the "Active Decades" as name of "Album". When I view my tune library and view them by "Ablum" .... I'm able to choose a tune by era or decade.
Music Match site has all this information.
Calm
Artist The Animals
Track Title San Franciscan Nights
This link is no longer active:
http://www.pair-annoyed.com:9090/!DL/TheAnimals-SanFranciscanNights.mp3
Bio aka: Eric Burdon & The Animals and Eric Burdon & The New Animals
Active Decades: '60s, '70s and '80s
Formed: 1964 in Newcastle-upon-Tyne, Northumberla
Disbanded: 1968
Genre: Rock
Styles: Rock & Roll, Blues-Rock, British Invasion, Psychedelic, British Blues
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. The Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.
Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.
In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.
In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down" and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.
Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch were gone, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.
The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.
ERIC BURDON:
aka: The Eric Burdon Band and Eric Burdon & War
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: 5/11/1941 in Walker-on-Tyne, England
Genre: Rock
Styles: Rock & Roll, Hard Rock, Psychedelic, Album Rock
As the lead singer of the Animals, Eric Burdon was one of the British Invasion's most distinctive vocalists, with a searingly powerful blues-rock voice. When the first lineup of the group fell apart in 1966, Burdon kept the Animals' name going with various players for a few years. Usually billed as Eric Burdon and the Animals, the group was essentially Burdon's vehicle, whom he used to purvey a far more psychedelic and less R&B-oriented vision. Occasionally he came up with a good second-division psychedelic hit, like "Sky Pilot"; more often, the music was indulgent, dating almost immediately. Burdon's real triumphs as a solo artist came at the beginning of the '70s, when he hooked up with a bunch of L.A. journeyman soul/funksters who became his backing band, War. Recording three albums worth of material in the year or two that they were together, the Burdon/War records could ramble on interminably, and would have benefited from a lot of editing. But they contained some spacey funkadelia of real quality, especially their number three hit single "Spill the Wine," which was almost recorded as an afterthought in the midst of sessions dominated by exploratory jams. The band was already big stars on record and stage when Burdon, for reasons unclear to almost everyone, quit the band in 1971. War defied expectations and became even bigger when left to their own devices; Burdon, after recording an album with veteran bluesman Jimmy Witherspoon, cut a series of generally desultory solo albums. He recorded off and on after that, at times with the Animals, but has never come close to reaching the heights of his work with the early Animals and War.
Track Title San Franciscan Nights
This link is no longer active:
http://www.pair-annoyed.com:9090/!DL/TheAnimals-SanFranciscanNights.mp3
Bio aka: Eric Burdon & The Animals and Eric Burdon & The New Animals
Active Decades: '60s, '70s and '80s
Formed: 1964 in Newcastle-upon-Tyne, Northumberla
Disbanded: 1968
Genre: Rock
Styles: Rock & Roll, Blues-Rock, British Invasion, Psychedelic, British Blues
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. The Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.
Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.
In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.
In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down" and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.
Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch were gone, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.
The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.
ERIC BURDON:
aka: The Eric Burdon Band and Eric Burdon & War
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: 5/11/1941 in Walker-on-Tyne, England
Genre: Rock
Styles: Rock & Roll, Hard Rock, Psychedelic, Album Rock
As the lead singer of the Animals, Eric Burdon was one of the British Invasion's most distinctive vocalists, with a searingly powerful blues-rock voice. When the first lineup of the group fell apart in 1966, Burdon kept the Animals' name going with various players for a few years. Usually billed as Eric Burdon and the Animals, the group was essentially Burdon's vehicle, whom he used to purvey a far more psychedelic and less R&B-oriented vision. Occasionally he came up with a good second-division psychedelic hit, like "Sky Pilot"; more often, the music was indulgent, dating almost immediately. Burdon's real triumphs as a solo artist came at the beginning of the '70s, when he hooked up with a bunch of L.A. journeyman soul/funksters who became his backing band, War. Recording three albums worth of material in the year or two that they were together, the Burdon/War records could ramble on interminably, and would have benefited from a lot of editing. But they contained some spacey funkadelia of real quality, especially their number three hit single "Spill the Wine," which was almost recorded as an afterthought in the midst of sessions dominated by exploratory jams. The band was already big stars on record and stage when Burdon, for reasons unclear to almost everyone, quit the band in 1971. War defied expectations and became even bigger when left to their own devices; Burdon, after recording an album with veteran bluesman Jimmy Witherspoon, cut a series of generally desultory solo albums. He recorded off and on after that, at times with the Animals, but has never come close to reaching the heights of his work with the early Animals and War.
The Bells - Stay Awhile
This Link Is No Longer Active:
http://www.pair-annoyed.com:9090/!DL/TheBells-StayAwhile.mp3
The Bells
Active Decades: '60s and '70s
Formed: 1965 in Montreal, Quebec, Canada
Genre: Rock
Anne and Cliff Edwards, Jackie Ralph, Mickey Ottier and Doug Gravelle formed the Five Bells in Montreal in 1965. Their first hit, "Moody Manitoba Morning," appeared in 1968. Dimension was released the following year, when Frank Mills replaced Mickey Ottier. When Cliff's wife Anne became pregnant in 1970, she left the group, which was subsequently renamed the Bells. "Fly Little White Dove, Fly" (from the 1971 album of the same name) became a Canadian national hit soon after, prompting Frank Mills to leave for a solo career. Dennis Will took his place. "Stay Awhile," released in 1971, became the Bells' biggest hit, selling over one million copies. In 1973, however, after Love, Luck 'N Lollipops (1971) and Studio "A" (1972), the group broke up. Cliff Edwards had a solo career in the late '70s and early '80s
This Link Is No Longer Active:
http://www.pair-annoyed.com:9090/!DL/TheBells-StayAwhile.mp3
The Bells
Active Decades: '60s and '70s
Formed: 1965 in Montreal, Quebec, Canada
Genre: Rock
Anne and Cliff Edwards, Jackie Ralph, Mickey Ottier and Doug Gravelle formed the Five Bells in Montreal in 1965. Their first hit, "Moody Manitoba Morning," appeared in 1968. Dimension was released the following year, when Frank Mills replaced Mickey Ottier. When Cliff's wife Anne became pregnant in 1970, she left the group, which was subsequently renamed the Bells. "Fly Little White Dove, Fly" (from the 1971 album of the same name) became a Canadian national hit soon after, prompting Frank Mills to leave for a solo career. Dennis Will took his place. "Stay Awhile," released in 1971, became the Bells' biggest hit, selling over one million copies. In 1973, however, after Love, Luck 'N Lollipops (1971) and Studio "A" (1972), the group broke up. Cliff Edwards had a solo career in the late '70s and early '80s