Pop & Rock Новости

'To pick up where 'I Am The Walrus' left off'; that was the goal when Electric Light Orchestra formed in the early seventies. They wanted to steep different music styles in a rock tradition and mix in some Beatlesque pop, but it took Jeff Lynne & co until their third album Eldorado to get on the right track. Their most ambitious album to date, they decided to hire a 30 piece orchestra and choir to fill out their sound, and the investment paid off. With the unforgettable 'Can't Get It Out Of My Head' as the lead single, 'Eldorado' was a commercial as well as a critical success, and it would achieve gold status in the US. 'The English guys with the big fiddles' had arrived!

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

limitierte Fanbox mit Digipack und umfangreichen Booklet, exklusive Bonus-Live-CD mit dem Schifffahrtkonzert, coloured 7Inch-Vinyl, 7 Postkarten, A1-Poster, Sticker !!!



Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Becks car accident en Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder's Detroit Wheels) and singer Rusty Day form Ted Nugent's Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue. The shredding turbocharged Boogie is a very fine example of how exciting early Seventies Hard Rock still can be!

Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting with using scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

One of the great lost albums of British psychedelia, original copies of Arzachel's 1969 self-titled debut fetch huge sums on the collectors' market and it is not difficult to understand why. Originally released in 1969 on the small Evolution label, this album quite simply contains some of the best psych to ever come out of the UK. However, like so many other great albums of the era, it soon dropped entirely from the radar due to bad promotion. In fact, it may not have ever been rediscovered at all if guitarist Steve Hillage and keyboardist Dave Stewart had not gone on to be so well known. Hillage would soon become famous for his work in Gong, and Stewart would become a legend of British prog with Egg, Hatfield and the North, National Health, and his work with wife Barbara Gaskin in the 1980s. Contains bonus track from a lacquer of the same period. Limited edition of 500 copies on 180 gram white vinyl.

Soon after the release of King Crimson's 1969 masterpiece, In the Court of the Crimson King, band members Michael Giles and Ian McDonald began to disagree with the direction the band was taking and soon split off to start their own project. 1971 saw the release of an excellent studio album on Island Records called simply McDonald and Giles. Although the album was similar in style and complexity to King Crimson, the sound was considerably less dark overall. In fact, regarding this difference, McDonald commented at the time, 'I want to make music that says good things instead of evil things.' The album also featured Michael Giles' brother Peter (from their days with Giles, Giles & Fripp), and guest musician Steve Winwood, whose keyboard playing can be heard on 'Turnham Green'. Limited edition of 500 copies on 180 gram clear vinyl with a gatefold sleeve.

In July 1965, when Their First LP was originally released, the Spencer Davis Group - the band that launched Steve Winwood's career - was just one of the many aspiring young groups on the British beat scene. But that would soon change when their single - a version of Jamaican singer Jackie Edwards' 'Keep On Running' - shot to the No. 1 spot on the British charts. Featuring 5 bonus tracks, including Otis Redding's 'She Put The Hurt On Me', Etta James' 'I'll Drown In My Own Tears', 'I'm Getting Better' and 'Goodbye Stevie', all from their 1965 EP, plus 'Stevie's Blues', the B side to their 1966 single 'Somebody Help Me'. Limited edition of 500 copies on 180 gram clear vinyl.

By Autumn '66 the Spencer Davis Group was at the very pinnacle of its success, burning up the charts with self-penned originals like 'Somebody Help Me' and 'When I Get Home'. However, this album also paid homage to the (mostly American) musicians, like Elmore James and Elvis Presley, who had so inspired these young lads from Birmingham, propelling them to international stardom. Bonus tracks include their number one smash hit 'I'm A Man', plus 'Stevie's Groove' (featured in the 1966 film, The Ghost Goes Gear, a musical comedy featuring the Spencer Davis Group and a plot about a haunted house, yes you read that correctly), 1967's 'Waltz For Lumumba', and 'I Can't Get Enough Of It'. Limited edition of 500 copies on 180 gram clear vinyl.

* Limited edition of 1000 first pressings

* First time ever as a standalone vinyl release

* Complete track listing and additional art


Originally released alongside the movie in 2002, the original motion picture soundtrack to Star Wars Episode II: Attack of the Clones' 13-track score from legendary composer John Williams has been remastered to maximize the recording's dynamic range.

Continuing with I Am Shark's innovative variant character color coordination, which saw the vinyl release of the Episode I soundtrack come in 5 different variations, the upcoming vinyl release of the Episode II soundtrack premieres fan favorite Jango Fett's own colored vinyl pressing (Silver / Transparent Royal Blue Mix).

Aside from beautifully colored vinyl and the eye catching imagery featured on the gatefold packaging, there are hints of a hidden surprise included in this album.

* Limited edition of 1000 first pressings in kelly green/opaque cyan 4-way split vinyl

* First time ever as a standalone vinyl release

I Am Shark is excited to celebrate Star Wars Day with the announcement of the upcoming limited edition vinyl release of the Star Wars Episode III: Revenge Of The Sith original motion picture soundtrack.

Available for the first time ever as a standalone vinyl record, the limited edition 1000 copy pressing keeps with I Am Shark's variant color theme found on their previous Star Wars vinyl releases, and is available in the General Grievous variant, an alternating mix of transparent kelly green and intense opaque cyan that emulate the fearsome quadruple lightsaber wielding cyborg.

Opening up the 2xLP gatefold jacket reveals an ominous photo of the newly anointed Darth Vader and The Emperor looking out at the face at the growing Empire at the conclusion of Episode III. This beautiful edition is simply a must have for Star Wars fans, vinyl hounds, and collectors alike.

Originally released on CD alongside the movie in 2005, the Episode III: Revenge of the Sith soundtrack features a score by five-time Oscar winner John Williams, who is also the composer and conductor of the score for each film in the 9 - chapter Star Wars saga. The score found on the Episode III soundtrack is decidedly darker than previous Star Wars prequel soundtracks, as the musical themes match the growing darkness woven into the story and the galaxy as the Empire consolidates its power at the conclusion of the prequel trilogy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will nonetheless be very familiar to any fan of the series, from the "Imperial March" to the main theme.

* The complete MY BLOODY VALENTINE (1981) film score debut
* Double LP featuring over one hour of music
* Pressed to two 180 gram opaque red vinyl records
* Liner notes by composer Paul Zaza
* Liner Notes by director George Mihalka
* Artwork by the ghoulish Gary Pullin
* Old style tip-on gatefold jacket with soft touch coating
* Printed inner sleeves

Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and it's residents that fall victim to a vengeful, homicidal maniac on Valentine's Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009. By working directly with composer Paul Zaza (Prom Night, Curtains, Porky's), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 180 Gram opaque blood red vinyl records.