Love Song

Author: Filemp3  //  Category: Others

A love song is about falling in love and the happiness it brings. By contrast, a heartbreak song is about a relationship breaking down, or the sadness of a love that has died. Anthologies of love songs often contain a mixture of both of these types of song. A bawdy song is both humorous and saucy, emphasizing the physical pleasure of love rather than the emotional joy.

Girls’ names

Many love songs are addressed directly to the person being admired. This means that a girl’s name often appears in the title. Some well-known examples are “Maria” (from “West Side Story”), “Michelle” (The Beatles), “Jeanie with the Light Brown Hair” (Stephen Foster) and “Layla” (Derek and the Dominoes). It seems that songs sung from the girls point of view, with a man’s name in the title, are less frequent. In 1964 Cilla Black had a hit with “You’re MY World”. Unusually, the song does not specify the sex of the singer. In the same year it was a hit for Harry Secombe. He did not need to change any of the words to make it refer to a man’s love of a woman. The Crystals had a hit with “Then He Kissed Me”. It was a simple matter for the Beach Boys to change a few words, and this became “Then I Kissed Her”, also a hit. Other examples of songs with girls names in the title are “Annie’s Song” (John Denver), “Peggy Sue” (Buddy Holly), “Amanda” (Boston), and “Sherry” (The Four Seasons).

Some historical or local names for a sweetheart often appear in the title. For example “My Old Dutch” (Albert Chevalier) contains the cockney rhyming slang word “Dutch” = “Duchess of Fife” = “Wife”. Robert Burns’ “John Anderson, My Jo” has the word “Jo” (18th century word for a sweetheart). Love songs in the first person are quite rare before the middle of the nineteenth century, but it is not known why this should be.

Prior to 1945

Changes in style mean that few songs survive more than fifty years, but there are exceptions. Al Jolson had a hit with “You Made Me Love You (I Didn’t Want to Do It)“. It is better known in the film version by Judy Garland. “Let Me Call You Sweetheart” (Friedman, Whitson) dates from 1910, and is still quite familiar. “I Can’t Give You Anything but Love, Baby” (McHugh, Fields) has become a jazz standard. Cole Porter wrote many witty love songs. The best known one is possibly “I’ve Got You Under My Skin (song)“. “You’re Driving Me Crazy” (Walter Donaldson) has the jaunty feel of the 1920s, and is almost synonymous with Americans dancing the Charleston. Other songs that have survived from the 1920s included “The Very Thought of You” (Ray Noble), “All of Me (song)” (Marks, Simmons) and the country and western song “(I’m) Confessin’ (That I Love You)” (Daugherty, Neiberg, Reynolds). More

lovesong1

VA – The Ultimate Ballads Album Classic Love (2009)

Band: Various Artists
Album: The Ultimate Ballads Album Classic Love (2009)
Genre(s): Pop, Pop Rock
Label: Decca Records
Source: CDDA
Grabber: Exact Audio Copy (Secure Mode)
Encoding Scheme: Lame 3.97 V2 VBR / Joint-Stereo
Total Playing Time: 56:17
File Size: 73,4 MB

Track Listing:
1. Elton John – Your Song
2. Lionel Richie – Hello
3. Chris De Burgh – Lady In Red
4. Russell Watson – Nella Fantasia
5. Vittorio – Maria
6. Tom Jones – Green, Green Grass
7. Luciano Pavarotti – Caruso
8. Donny Osmond – Mandy
9. Jose Carreras – Be My Love
10. Engelbert Humperdinck – The Last Waltz
11. Cat Stevens – The First Cut
12. Placido Domingo – Flower Song
13. Lulu And Russell Watson – The Prayer
14. The Moody Blues – Nights In White Satin

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Password: carnitech@crostuff.net

Danger danger

Author: Filemp3  //  Category: Others

Danger Danger is a glam metal band formed in 1987 in Queens, New York. Despite enjoying moderate success in the U.S. with their debut album Danger Danger, the band vanished from the radar due to legal problems and changes in its line-up. However, they have remained solid and are still playing and recording albums.

Band history

dangerdanger

Danger Danger was formed in 1987 by bassist Bruno Ravel and drummer Steve West. Mike Pont was the lead singer for a while, and Al Pitrelli was the guitarist for a while before going on to play guitar for Alice Cooper. After adding keyboardist Kasey Smith (ex-Get With It), they made an attempt to record a demo, but failed. Shortly after, they recruited a singer named Ted Poley (who was playing in Prophet as drummer). They made another attempt at a demo, and this time it landed them a record deal with Epic Records.

In 1989, Tony “Bruno” Rey (from Saraya) joined briefly as guitarist before returning to his previous band. Andy Timmons replaced him, and the band finally released their debut album that year. The album spawned two hits with “Naughty Naughty” and “Bang Bang,” with the former gaining a spot in MTV’s Headbanger’s Ball. The band went on tour opening for KISS, Alice Cooper, Extreme and Warrant.

After that, the band went on to record their follow-up in the Netherlands, finally releasing Screw It! in 1991. The album spawned two other hits with “Monkey Business” and “I Still Think About You” and again, they went on tour with KISS. During it and due to the growing emphasis on guitars instead of keyboards, Kasey Smith left the band.

In 1993, the band had finished work with their third album titled Cockroach. However, surprisingly, the band fired singer Poley. Subsequent lawsuits from Poley prevented the album from being released. In the meantime, Paul Laine was hired by Ravel and West as the new singer and he re-recorded the vocals for the new album. Still, when they were about to release it, Epic thought it was in their best interest to decide to shelve the record. Shortly after, the band and the label amicably parted ways. Also, frustrated with all this, guitarist Timmons left the band to pursue a solo career.

Ravel and West went on to form their own label, Low Dice Records, and they started working on a new album together with Laine. They finally released Dawn in 1995 which featured a more somber and introspective tone. The album was partly marketed through the band’s fan club, newsletter and website. The band recruited bassist Scott Brown to help them, and they went on tour again in the U.S..

The band went back in the studio and released Four the Hard Way in 1998. The album was a return to the melodic rock that had made them famous at first. Former band members, Timmons and Smith, contributed to the album, and the band went back on tour. In 2000, they released The Return of the Great Gildersleeves.

In 2001, the band made a unique move after talks with Epic, releasing Cockroach, which was supposed to be their third album, but couldn’t be released for legal issues. The album featured two discs with both versions of the album. One with Paul Laine and the other with Ted Poley. The response to the album was positive. They followed it in 2003 with Rare Cuts, which is a collection of unreleased and rare tracks.
In 2004, Paul Laine left the band and original singer Ted Poley was brought back.

In 2005, the band released Live and Nude, which was recorded in 2003 and features former vocalist, Paul Laine.

The independent label Frontiers Records recently announced the signing of Danger Danger for the release of a brand new studio album during 2008, which will be the first to include guitarist Rob Marcello, and will feature original members Ted Poley, Bruno Ravel and Steve West.[1] The new album “Revolve” coincides with the 20th anniversary of the classic self titled debut release for Imagine Records, a record that went on to become gold, spanning two US hit singles with the songs “Naughty Naughty” e “Bang Bang“. In just a few years, also on the strength of the follow up “Screw It”, Danger Danger became one of the most popular bands in the Melodic Hard Rock scene, touring with the likes of KISS, Extreme, Alice Cooper and Warrant among others. [1]

Discography:

  1. Danger Danger (1989)
  2. Down And Dirty Live (EP)
  3. Screw It! (1991)
  4. Dawn (1995)
  5. Four The Hard Way (1997)
  6. The Return Of The Great Gildersleeves (2000)
  7. Cockroach (Ted Poley Version Version/Paul Laine Version) (2001)
  8. Rare Cuts (2003)
  9. Live And Nude (2005)

PART I PART II PART III PART IV PART V PART VI PART VII

Static-X – Cult Of Static – 2009

Author: Filemp3  //  Category: Hardrock/Metal, Others
114

Cult of Static is the sixth studio album by Static-X, and was released on March 17, 2009. The album’s first single “Stingwray” was released and made available on the band’s myspace page, on February 17, 2009. The title is a reference to lead singer Wayne Static’s wife Tera Wray and her Corvette Stingray.[1] Though this will be the first single for this album, one of the songs, “Lunatic”, was released on the Punisher: War Zone soundtrack. The song is based partially on a warrior, similar to the Punisher character and was re-recorded for the album to feature a guitar solo by Megadeth leader Dave Mustaine. The album was produced by John Travis, who also produced Static-X’s previous album Cannibal. Stingwray is available on iTunes and on Static-X’s myspace. This is also the first Static-X album without a title track, and the second to not have one of the ‘Otsego’ songs on it.

So far it is the Static-X album that has garnered the most positive reviews. The album debuted at #16 on the Billboard Top 200 chart, making it the band’s highest charting album since 2001’s More

Track Listing

01. Lunatic 03:35
02. Z28 03:09
03. Terminal 03:37
04. Hypure 04:15
05. Tera-Fied 05:19
06. Stingwray 04:10
07. You Am I 02:59
08. Isolaytore 02:45
09. Nocturnally 03:49
10. Skinned 03:33
11. Grind 2 Halt 04:55

Bonus Tracks
——–
01 – W.F.O. (Bonus Track) 03:11
02 – Looks That Kill (Bonus Track) 04:12

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The Club Electro House 2009

Author: Filemp3  //  Category: Others
114

Electro house is a subgenre of house music that rose to become one of the most prominent genres of electronic dance music today. Stylistically, it combines the four to the floor beats commonly found in house music with harmonically rich analogue basslines, abrasive high-pitched leads and the occasional piano or string riff. The tempo of electro house ranges approximately from 120 to 135 bpm. Dirty house is a derivative of electro house, which is often much more commercial in its appeal and in general features more vocals. Electrotech is a darker variation of electro house mixed with the sound of tech house.

The use of the word “electro” to describe this style of modern house music is contentious, and creates an ambiguity between electro house and classic electro, with which it bears little resemblance.[1]

Roots

The most obvious precursor to the modern electro house scene is the electroclash movement of the early 2000s; largely a re-run of the early 1980s synth pop sound, but deliberately made cruder and more raw-sounding than the primitive records on which it was based.[2] More recently, some of the artists and labels involved with the sound, such as Crosstown Rebels, have found a new direction in electro house.[3] Some artists associated with the electroclash movement, such as Felix da Housecat, noticeably used elements of house in their music at the time and have since come to be seen as highly influential.[4] French house has also been considered an influence.

Previously and concurrent to electroclash, tech house was developing. Traditionally, the most noticeable influences of tech house were from Detroit techno, such as sweeping strings and 909 beats, but it developed a dirtier sound in the early 2000s, owing largely to a trend of acid house revival,[2] shown by artists such as David Duriez and the Brique Rouge label.[5] Another profound house artist from the past, Satoshi Tomiie, has helped to shape the typical sound of electro house by adding his own blend of NY-groove styled musical elements to further influence and enhance the musical sound of this genre. His influence on electro house begins back in the 1989 with the affiliation to the famous high-society DJ Frankie Knuckles and Satoshi Tomiie is still currently playing a substantial role in the composition of the electro house sound.[citation needed]

In 2003 some tribal house DJs such as Steve Lawler, while previously associated with the darker-hued sounds of progressive house, began to use analogue basslines, starting a sound dubbed ‘dirty tribal’.[6] Concurrently, the breakbeat scene was creating similar sounds with the popular tech-funk style. It was around this time that electro house properly began to emerge. More

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Rock Compilation

Author: Filemp3  //  Category: Country, Jazz, Music News, Music Videos, Others

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