Download Minor Threat mp3

Artist: Minor Threat: mp3 download    Genre(s):  Rock: Punk-Rock     Discography:      First Demo Tape    Year: 2003    Tracks: 8      Complete Discography    Year:     Tracks: 26 Minor Threat was the unequivocal Washington, D.C., hardcore punk rock'n'roll banding, stage setting the stylus for the straightedge punk bowel movement of the other '80s. Led by vocaliser Ian MacKaye, the striation was staunchly independent and fiercely unplayful. Through their songs, the group rejected drugs and alcohol-dependent drink, espoused anti-establishment political relation, and lED a call for self-awareness. Every song was fast, sharp, and lethal, a great deal clocking in at but around a instant. Their speed and frenzy oft hid their fairly catchy melodies, only the band's primary map was to vent furore. Over the course of action of trey years, Minor Threat released two EPs, one album, and several singles, all of which were quite pop in the American spunk underground. Their records and concerts helped spawn straightedge, an American punk lifestyle based on the group's intense, clean political orientation. Following the disbandment of Minor Threat, MacKaye formed Fugazi, wHO became one of the more pop American indie rock bands of the late '80s and '90s. The origins of Minor Threat lie in the Teen Idles, Ian MacKaye's first stria. MacKaye formed the Teen Idles patch he was attendance Wilson High School in Washington, D.C., and after he gradatory in 1980, he founded the Dischord record label with the intent of putting out his group's records through the mark. Shortly after commencement ceremony, the Teen Idles had humbled up and MacKaye had formed Minor Threat with early Idles drummer Jeff Nelson, early Government Issue bassist Brian Baker, and guitar player Lyle Preslar. By the end of the year, Minor Threat had released the singles "Pocket-size Threat" and "Straight Edge," and had played many concerts along the East Coast. Throughout 1981, they followed this same design, playacting a lot of concerts and releasing 7" singles. That year, they likewise released deuce EPs, Minor Threat and In My Eyes, both of which compiled their singles. In 1982, bassist Baker had left and was replaced by Steve Hansen; Baker by and by played with the Meatmen, Junkyard, and Dag Nasty. With Hansen on plug-in, the chemical group recorded their only uncut album, Out of Step. Upon its 1983 waiver, the album became popular within the underground and Minor Threat were decorous alternative stars, which didn't sit well with MacKaye. By the end of the year, he stone-broke up the band. MacKaye and Nelson continued to run Dischord, which thrived well into the '90s. The mate likewise played together in some other band, Egg Hunt. Following the disbandment of Egg Hunt, Nelson played with a diversity of bands -- including Three and Senator Flux -- earlier devoting his energies to running Dischord. MacKaye played with Embrace, Skewbald, and Pailhead earlier forming Fugazi, world Health Organization carried on the esthetic, if not the sound, of Minor Threat.

`Watchmen' aims to answer typical superhero films

SAN DIEGO —

Zack Snyder is standing inside a 9,000 lb, tanklike alloy pod in the center of the crowded Comic-Con floor. He nonchalantly points out the features of the Owl Ship, a real-life interpretation of the flying vehicle from the award-winning graphic novel "Watchmen."

"The Owl Ship's got to have an eight-track," Snyder says. "There's also a coffee divine. That's really important to the Owl Ship."

Snyder, whose adaptation of the graphical novel "300" grossed more than $200 million, says directing "Watchmen" isn't a job he would have sought, merely it's one that suits him fine: Staying genuine to a beloved story that dismantles the superhero archetype.

"These modern superheroes, like Iron Man, Batman and Superman, they're our mythology and (author) Alan (Moore) sort of deconstructed that mythology and said no, they're us," Snyder says. "Other superhero movies - 'Iron Man,' 'Batman' - they're like a melange off all the different mythology. The Joker, he's a great character, merely there's no bible for how that character should be. ... People sort of group 'Watchmen' with the Batman and Iron Man superhero movies, (but) those things don't have quintessential and set works of literature that support (them). They do, but it's all gap out."

Snyder says his version of Warner Bros. "Watchmen," slated for release side by side March, is more true to the source substantial than was the Oscar-winning "No Country for Old Men."

He sticks to the story because of the complex concepts involved, he says, such as exploring superheroes' honourable and moral challenges.

The chronicle "deconstructs heroes. ... It genial of takes it all the way," Snyder says. "How far do you take this superhero thing? Do you take a cat out of a tree or do you create world peace? That's really the dilemma that they face. Superman has the ability to go to all the populace leaders and say, 'I will pop all of you if you don't behave.' He could do that, but wherefore doesn't he?"

Comic-Con opened Thursday at the San Diego Convention Center.

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Warner Bros. is a unit of Time Warner Inc.

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On the Net:

http://watchmenmovie.warnerbros.com/

http://www.comic-con.org/

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Whole lot of Mann power

AIMEE MANN - @#%&*! Smilers Rating ****1/2
AIMEE MANN has arrived in the UK and is having phone trouble.

"I hired a cell phone. It’s the worst phone," complains the
American singer. "It’s from, like, 1979! It does nothing."

I quickly discover that the woman behind some of the most gorgeous and languid
vocals imaginable is also highly passionate.

She’s here to discuss seventh album @#%&*! Smilers, a high point in
a career littered with high points.

From the easy West Coast glide of Freeway to the countrified Phoenix and on to
the unsettling Little Tornado, it’s an album of exquisite mini-dramas, quite
a departure from 2005’s concept album The Forgotten Arm.
Here Aimee, 47, tells SIMON COSYNS about the album, why she’s gone
it alone with her own record label and assesses the current state of the
record industry.DO you find it liberating to release records on your label?
I do. I found it very frustrating and kind of absurd to answer artistically to
other people.

I was always fine, saying, "If you don’t want to put out the record,
don’t put it out". But then they go: "We want to put it out.
We want to keep you. But we want you to change." I never got that.
It’s quite brave to go your own way.
I didn’t do it out of bravery. I’m fairly agreeable and I want to please
people but I can’t think with someone else’s brain.
What do the expletives mean in your album title?
It’s supposed to be the curse word of your choice, basically like cartoon
cursing.
How did you approach these songs?
I was really in the mood for some different sounds which is how we wound up
with a lot of Moog, analogue synths and Wurlitzers.
Freeway takes you back to the West Coast sound of the Seventies. Was that
your intention?
I wanted to write a song that had a simple little riff. Songs that reference
cars and roadways are always classic Americana, aren’t they?
Is Stranger Into Starman about the cult of celebrity?



It’s more about the general idea of elevating people in your estimation that
don’t deserve it, based on how they appear rather than how they are. You
could call it narcissism.
You bassist Paul Bryan produces the album. What did he bring to it?
I started to realise how great Paul was when we started to play trio shows
together, just me, Paul and the keyboard player — just how connected he was
to music in a way that I didn’t see in other people.

He has that quality of really getting inside a song.
You are vociferous about piracy in music. How do you feel about the
industry in 2008?
I’m very conflicted about discussing it because it’s not that appealing to
have an artist talking about business and money. Part of doing an interview
is to make yourself likeable.

People don’t want to hear you moaning "How am I going to pay the
pool guy?"

But the record business is completely falling apart what with downloading and
people burning CDs for each other.

It’s like global warming. The business is the melting iceberg and I’m the
polar bear. I’m not super-happy about it but there’s nothing I can do.

I don’t make my living through shows because I pay the band, pay for hotel
rooms and the food.

For people of my level, it’s break even. I don’t sell T-shirts or have a
perfume line. I make money selling records and if you don’t buy the record
then I don’t make money.
What will happen in the future?
It probably comes down to putting out a song every couple of months, internet
release only. No beautiful packages, which is a shame to me because I love
packages and the artists who create them.

Sarah Jessica Parker won’t turn to Botox

Sex and The City star Sarah Jessica Parker says she won’t turn to Botox in order to beat the aging process.
The 43-year-old actress — who plays newspaper journalist Carrie Bradshaw in the hit HBO television series and upcoming move — says that despite the entertainment industry being a hard place to age, she won’t resort to the anti-aging injections.
She says, “I believe in aging gracefully—and of course, buying as many anti-aging creams as possible!”

Bob Dylan: Obama is redefining us politics

Bob Dylan believes Barack Obama is redefining politics in the United States and could deliver change to a nation in upheaval, according to a British newspaper interview.In an interview with the Times of London, the musician is quoted as saying that Obama has changed politics in the US, though Dylan does not specifically endorse the presumptive Democratic presidential nominee"Well, you know right now America is in a state of upheaval. Poverty is demoralising. You can't expect people to have the virtue of purity when they are poor," Dylan is quoted as saying."But we've got this guy out there now who is redefining the nature of politics from the ground up ... Barack Obama," he was quoted as saying. "He's redefining what a politician is, so we'll have to see how things play out. Am I hopeful? Yes, I'm hopeful that things might change. Some things are going to have to."The newspaper said the interview took place in Denmark during Dylan's current tour of Scandinavia.




"You should always take the best from the past, leave the worst back there and go forward into the future," Dylan said, apparently referring to Obama's campaign.The 67-year-old singer has an exhibition of his art work opening in London next week.- AP

Max Roach

   
Artist: Max Roach

   Genre(s): 
Jazz
   Avantgarde
   

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Discography:


   
 Jazz at Massey Hall

   Year: 1991   
Tracks: 6


   
 M'Boom

   Year: 1980   
Tracks: 6


   
 Parisian Sketches

   Year: 1960   
Tracks: 5


   
 Deeds Not Words

   Year: 1958   
Tracks: 8


   
 Brown and Roach Incorporated

   Year: 1954   
Tracks: 7

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In a profession star-crossed by early deaths -- especially the bebop division -- Max Roach was long a sheeny survivor, one of the last giants from the parturition of bop. He and Kenny Clarke instigated a gyration in jazz drumming that persisted for decades; or else of the swing approach of spelling out the pulsation with the bass drumfish, Roach shifted the accent to the ride cymbal. The issue was a flatboat, far more than flexile texture, giving drummers more freedom to explore the possibilities of their drumfish kits and drop random "bombs" on the snare drum, piece allowing federal Bureau of Prisons virtuosos on the battlefront lines to play at faster speeds. To this base, Roach added sterling qualities of his own -- a savage drive, the ability to dally a solo with a definite plot line, mix up pitches and timbres, the dexterous role of silence, the sleight to purpose the brushes as bright as the sticks. He would use of goods and services cymbals as gongs and play spellbinding solos on the tom-toms, creating ambience as easily as keeping the groove pushing forward.


But Roach didn't stop thither, unlike other jazz pioneers world Health Organization changed the world when they were lester Willis Young even became put in their shipway as they grew aged. Throughout his carer, he had the wonder and the willingness to develop as a player and as a man, moving beyond bebop into new compositional structures, unusual musical instrument lineups, unusual time signatures, atonalism, medicine for Broadway musicals, television set, plastic film and the philharmonic hall, regular working with a rapper intimately ahead of the jazz/hip-hop amalgamation. An vocal piece, he became a fervid supporter of civil rights and racial equality, and that no question suffer his career at several junctures. At one point in his militant period in 1961, he disrupted a Miles Davis/Gil Evans concert in Carnegie Hall by marching to the edge of the leg holding a "Freedom Now" placard protesting the Africa Relief Foundation (for which the event was a benefit). When Miles' autobiography came kO'd in 1989, Roach decried the book's inaccuracies, even sledding so far as to suggest that Miles was getting doddery (despite the jumpy patches, their friendly relationship nevertheless lasted until Miles' last). Roach as well received a MacArthur Foundation "genius" grant; as an say reader on jazz, he taught at the Lenox School of Jazz and was a prof of medicine at the University of Massachusetts, Amherst.


Roach's mother was a gospel isaac Merrit Singer, and that early immersion in the church had a persistent gist on his musical direction. He started performing the drums at age ten and undertook formal musical studies at the Manhattan School of Music. By the time he was 18, Roach was already immersed in proto-bop chock up roger Huntington Sessions at Minton's Playhouse and Monroe's Uptown House (where he was the house drummer) with Charlie Parker and Dizzy Gillespie, hearing to Kenny Clarke and riveting his influence. He made his recorded debut in 1943 with the progressive-minded Coleman Hawkins on the Apollo label, and played with Benny Carter's orchestra in California and Gillespie's fivesome, as well as briefly with Duke Ellington in 1944. By 1945, Roach was red-hot in jazz circles, and he linked Parker's grouping that class for the first-class honours degree of a series of sporadic periods (1945, 1947-49, 1951-53). He participated in many of bop's originative recordings (including Parker's incendiary "Ko-Ko" of 1945 and Miles' Nativity of the Cool recordings of 1949-50), although he would non pb his have studio session until 1953. Even so, Roach would non be forced into a narrow box, for he too played with R&B/jazz lead Louis Jordan and Dixieland's Henry "Red" Allen. With Charles Mingus, Roach co-founded Debut Records in 1952, though he was on the road too ofttimes to do a great deal minding of the shop. But Roach later on aforementioned that Debut gave his life history a jumping-off point -- and so, Debut released his first sitting as a leader, as well as the memorable Massey Hall concert in which Roach played with Parker, Gillespie, Mingus and Bud Powell.


In 1954, non long later recording with Howard Rumsey's Lighthouse All-Stars, Roach formed a quintet in Los Angeles to get hold of out on the route at the suggestion of Gene Norman. This grouping included peerless Clifford Brown, wHO had been recommended to Roach by Dizzy several eld before. The Brown/Roach quintet made a stack of of the essence recordings for EmArcy that almost defined the gruelling federal Bureau of Prisons of the '50s, and though Brown's demise in a 1956 machine accident utterly devastated Roach, he kept the quintet unitedly with Kenny Dorham and Sonny Rollins as the leading horns. For the remainder of the '50s, he would continue to enjoyment major talents like Booker Little, George Coleman and Hank Mobley in his pocket-sized groups, dropping the pianoforte totally now and and so.


Heavily affected by the burgeoning civil rights movement and his relationship with militant vocalist Abbey Lincoln (to whom he would be married from 1962 to 1970), Roach recorded We Insist! Max Roach's Freedom Now Suite, a seven-part quislingism with Oscar Brown, Jr., in 1960, and he would go on to compose works that used solo and chorale voices. Throughout the 1960s, Roach was a committed political social reformer, and that, along with the general slump of sake in wind, reduced his musical profile, although he continued to record periodically for Impulse! and Atlantic. In 1970, Roach took some other circular and formed M'Boom, a ten-piece pleximetry ensemble that borrowed languages and timbres from classic contemporary medicine and continued to do well into the '90s. Interested in the vanguard, Roach recorded with the likes of Anthony Braxton, Archie Shepp and Cecil Taylor in the late '70s, though the results were mostly issued on erratically distributed foreign labels. In the 1980s, he began to experiment with a forked quadruplet (with Odean Pope, Cecil Bridgewater and Tyrone Brown) -- his veritable jazz quaternity combined with the partly improvising Uptown String Quartet (which includes his girl Maxine on viola).


The late '80s and '90s constitute Roach entry extra projects care a double-CD twosome concert with a sadly faded Dizzy Gillespie, the much more successful To the Max, which combined several of Roach's various groups and idioms, and a huge, uneven concerto for metal drum soloist and symphony orchestra orchestra, "Festival Journey." He toured with his quartette into the 2000s, and continued to record or compose until a few age ahead his death in 2007. Roach was outside the cognisance of most wind historians since the 1960s, and refused to be bound or secured into some miserly short recess of history. That made him a rarefied, unclassifiable, treasurable engender of cat.





Grammys set a date

Fire Town

   
Artist: Fire Town

   Genre(s): 
Rock
   

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Discography:


   
 Good Life

   Year: 2007   
Tracks: 10

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Madison, WI's Fire Town is chiefly remembered because of the band's relation to Garbage. Comprised of Duke Erikson (vocals, guitar), Phil Davis (vocals, guitar), and Butch Vig (drums, percussion, mount vocals), Fire Town's light, jangly crop up fed college wireless with some other dose of tintinnabulation guitars and folk-rock harmonies in the later '80s. Vig and Erikson were previously in the radical Spooner. After Spooner broke up, Davis, Vig, and Steve Marker (guitars) formed the passing First Person in 1986. A class later, Davis, Vig, and Erikson collaborated again as Fire Town, cathartic the LP In the Heart of the Heart Country. The album received praise from Rolling Stone magazine; however, it was as well tame regular for pre-grunge alternative wireless. The television for "Carry the Torch" concisely snared MTV's care, just Fire Town was baffled in a soaker of similar-sounding artists. Fire Town recorded some other album, 1989's Good Life, before calling it quits. In the early '90s, Vig's production work on albums from Nirvana, the Smashing Pumpkins, and L7 heightened his status within the alternative rock-and-roll community. Vig reunited with Erikson and Marker in the toughie band Rectal Drip, essentially a fill out mathematical group for canceled gigs. The iII became Garbage in 1993, adding vocalizer Shirley Manson in 1994.





Fergie's mother denies pregnancy reports