Art of Noise-singles 
2009-09-19 - extension: rar - size: 77 MB
Art of Noise-singles
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Duane Eddy Duane Eddy (geboren 26 april 1938) is een Grammy Award - winnende Amerikaanse gitarist. Inducted (More) Duane Eddy (geboren 26 april 1938) is een Grammy Award - winnende Amerikaanse gitarist. Inducted into the Rock and Roll Hall of Fame in 1994, he is acclaimed as the most successful rock and roll instrumentalist of all time. [1] In de Rock and Roll Hall of Fame 'in 1994 werd hij geprezen als de meest succesvolle rock en roll - instrumentalist van alle tijden. Geboren in Corning, New York in 1938, begon hij gitaar spelen op de leeftijd van vijf jaar, te bootsen zijn cowboy held, Gene Autry. His family moved west to Arizona in 1951. Zijn familie verhuisde west naar Arizona in de 1951. In early 1954, in Coolidge, Eddy met local disc jockey, Lee Hazlewood , who would become his longtime partner, co-writer and producer. In het begin van 1954, in het Coolidge, Eddy voldaan lokale schijf jockey, Lee Hazlewood, die zou worden zijn al jarenlang partner, de mede - schrijver en producent. Together, they created a successful formula based upon Eddy's unique style and approach to the guitar, and Lee's experimental vision with sound in the recording studio. Samen vormen zij een succesvolle formule op basis van Eddy's unieke stijl en aanpak van de gitaar, en Lee's experimentele visie met geluid in de studio - opname. (Later in his career, Eddy was interviewed by John Fogerty for Musician magazine about his style. Fogerty called it '"big" both in a sense of it being new and the actual sound quality itself. Eddy told Fogerty, "I knew we had to have something big, we did go for a big sound. I have to give a lot of credit to Lee Hazlewood. He mixed things for AM radio in those days so that they would come rockin out of the radio." ) (Later in zijn carrire, Eddy werd genterviewd door John Fogerty voor Muzikant magazine over zijn stijl. Fogerty noemde het "grote" zowel in de zin van dat het nieuwe en het werkelijke geluidskwaliteit zelf. Eddy vertelde Fogerty, "Ik wist dat wij hadden Hebben iets te groot, we hebben voor een grote geluid. Ik heb aan een heleboel van de kredietverlening aan Lee Hazlewood. Hij gemengd dingen voor AM radio - in die dagen, zodat ze zou komen rockin van de radio. ") Eddy introduced a unique, twangy sound to Rock and Roll guitar. Eddy heeft een unieke, twangy geluid Rock en Roll gitaar. As John Fogerty wrote in Rolling Stone about his style; "It was one of those untouchable, unique things...Duane Eddy was the front guy, the first rock & roll guitar god." Zoals John Fogerty schreef in Rolling Stone over zijn stijl; "Het was een van de onaanraakbare, unieke dingen ... Duane Eddy was de voorste man, de eerste de rock & rollen gitaar God." Combining strong, dramatic, single-note melodies, the bending of the low strings, and a combination of echo, vibrato bar (Bigsby), and tremolo, he produced a signature sound that was unlike anything yet heard - the sound that would be featured on an unprecedented string of thirty-four chart singles, fifteen of which made the top forty and sales of over 100 million worldwide. Combining sterke, dramatische interne nota - melodien, de bocht van de lage strijkers, en een combinatie van echo, vibrato balk (Bigsby), en Tremolo, produceerde hij een handtekening geluid dat was in tegenstelling tot wat nog gehoord - het geluid dat zou worden aanbevolen Op een ongekende reeks van vierendertig kaart singles vijftien van die gemaakt de top veertig en de verkoop van ruim 100 miljoen wereldwijd. Elements of country , blues , jazz and Gospel infused his instrumentals. Elementen van het land, de blues, jazz en Gospel infuus zijn instrumentale. They had evocative titles like, " Rebel Rouser ", " Forty Miles of Bad Road ", "Cannonball", "The Lonely One", "Shazam", and "Some Kind-a Earthquake" (which has the distinction of being the shortest song to ever break into the Top 40, clocking in at 1:17). Ze hadden suggestieve titels als "Rebel Rouser", "Forty Miles van Bad Road", "Cannonball", "The Lonely One", "Shazam", en "Some Kind - een Earthquake" (dat is het onderscheid dat de kortste Lied ooit te breken in de Top 40, de klok op 1:17). They were filled with rebel yells and saxophone breaks. Ze waren gevuld met rebellengroepen yells en saxofoon pauzes. The worldwide popularity of these records, beginning with Moovin' and Groovin in 1958 , broke open the doors for Rock and Roll instrumental music. De wereldwijde populariteit van deze gegevens, te beginnen met Moovin 'en Groovin' In 1958, brak de deuren openen voor de Rock en Roll instrumentale muziek. His band, The Rebels , featured musicians who were to become some of the world's best-known session players. Zijn band, The Rebels, sierden muzikanten die werden tot enkele van 's werelds bekendste sessie spelers. Sax players Steve Douglas and Jim Horn , and pianist Larry Knechtel , have been heard on hundreds of hit records, becoming members of the famous "Wrecking Crew" of Phil Spector in the 1960s , and touring with a very elite group of artists through the years. Sax spelers Steve Douglas en Jim Horn, en pianist Larry Knechtel, te hebben gehoord over honderden treffer platen, lid te worden van de beroemde "Wrecking Crew" van Phil Spector in de jaren 1960, en tourde met een zeer elitaire groep kunstenaars door de jaren heen . On January 9, 1959, Eddys debut album, Have Twangy Guitar Will Travel , was released, reaching #5, and remaining on the album charts for an unprecedented 82 weeks. Op 9 januari 1959, Eddy's debuutalbum, Have Twangy Guitar Will Travel, werd uitgebracht, en bereikte # 5, en op het album resterende kaarten voor een ongekende 82 weken. In 1960, the UK's " New Musical Express " voted him World's Number One Musical Personality , ousting Elvis Presley from his long held position. In 1960, het Britse "New Musical Express" heb hem World's Number One Musical Personality, verdringen Elvis Presley van zijn lang gekoesterde standpunt. That same year, he appeared in and recorded the theme for the movie Because They're Young . In hetzelfde jaar werd hij in en nam het thema van de film Because They're Young. The song became Eddy's biggest success, peaking at #4. Het lied werd Eddy's grootste succes, piek op # 4. Eddy constantly broke new ground, producing over 25 albums spanning a broad range of themes. Eddy brak voortdurend nieuwe grond, de productie van ruim 25 album aanbieden een breed scala van thema's. At the height of the Rock and Roll era, he recorded an album of completely acoustic music, Songs Of Our Heritage , the first "unplugged" project, so to speak. Op het hoogtepunt van de Rock and Roll tijdperk, nam hij een album van de volledig akoestische muziek, Songs Of Our Heritage, de eerste "stekker uit het stopcontact trekken" - project, om zo te zeggen. There were orchestral albums, Big Band sounds of the 1940s , and an album of songs written by Bob Dylan , who, years later, would write in his biography, Chronicle , For sure my lyrics had struck nerves that had never been struck before, but if my songs were just about the words, then what was Duane Eddy, the great rock and roll guitarist, doing recording an album full of instrumental melodies of my songs? Er waren orkestrale album, Big Band klanken van de jaren 1940, en een album van de nummers geschreven door Bob Dylan, die jaren later zou schrijven in zijn biografie, Chronicle, "Voor zeker dat mijn teksten had zenuwen dat nooit gevonden vr, Maar als mijn liedjes waren zo ongeveer de woorden, wat vervolgens werd Duane Eddy, de grote rock en roll gitarist, doen opnemen van een album vol instrumentale melodien van mijn liedjes? " During the 60's Eddy launched an acting career, appearing in the films A Thunder of Drums , The Wild Westerners , Kona Coast , The Savage Seven , and two appearances on the television series Have Gun Will Travel . Tijdens de 60's Eddy lanceerde een waarnemend carrire, die in de films A Thunder van Drums, The Wild westerlingen, Kona Coast, The Savage Seven, en twee optredens in de tv - serie Have Gun - Will Travel. The 1970s were equally busy for Eddy. De jaren 1970 waren even druk voor Eddy. He produced album projects for Phil Everly and Waylon Jennings . Hij geproduceerde plaat projecten voor Phil Everly en Waylon Jennings. In 1975 a collaboration with hit songwriter Tony Macaulay and former founding member of The Seekers , Keith Potger , led to a worldwide top ten record, " Play Me Like You Play Your Guitar ". In 1975 een samenwerking met de getroffen liedjesschrijver Tony Macaulay en voormalig stichtend lid van The Seekers, Keith Potger, heeft geleid tot een wereldwijde top tien record "Play Me Like You Play Your Guitar". The single, "You Are My Sunshine", featuring Willie Nelson and Waylon Jennings , hit the country charts in 1977 . De single, "You Are My Sunshine", met Willie Nelson en Waylon Jennings, druk op het land kaarten in 1977. In 1983, Duane toured with a group of legendary musicians, playing small, intimate clubs. In 1983, Duane toerde met een groep legendarische musici, spelende kleine, intieme en clubs. Friends of Eddy's had put this band together wanting to give the fans a chance to hear him in a unique setting - Don Randi on keyboards, Hal Blaine on drums, Steve Douglas on sax, and Ry Cooder on guitar. Vrienden van Eddy's had deze band samen te willen geven de fans een kans hem te horen in een unieke omgeving - Don Randi op keyboards, Hal Blaine op drums, Steve Douglas op saxofoon, en Ry Cooder op gitaar. In 1986 , Eddy recorded with Art of Noise , a collaboration that brought a contemporary edge to his 1960 best seller, "Peter Gunn". In 1986, Eddy opgenomen met Art van Noise, een samenwerking die geleid heeft tot een hedendaags rand van zijn 1960 beste verkoper, "Peter Gunn". The song was a Top Ten hit around the world, ranking #1 on Rolling Stone Magazine's dance chart for six weeks that summer. Het lied was een Top Tien treffer in de hele wereld, rangschikking # 1 op Rolling Stone Magazine's dans kaart voor een termijn van zes weken die de zomer. "Peter Gunn" won The Grammy for Best Rock Instrumental of 1986. "Peter Gunn" gewonnen De Grammy voor Best Rock Instrumental van 1986. It also gave Eddy the distinction of being the only instrumentalist to have had Top 10 hit singles in four different decades in Great Britain. Tevens gaf Eddy het onderscheid van de enige - instrumentalist te hebben gehad Top 10 hitsingles in vier verschillende decennia in Groot - Brittanni. (Less)
PET SHOP BOYS Left To My Own Devices 1.12.88 TrevorHorn Prod Reunited in 2005 with producer Trevor Horn for the first time since 1988's magisterial Left to (More) Reunited in 2005 with producer Trevor Horn for the first time since 1988's magisterial Left to My Own Devices, Pet Shop Boys encountered an unexpected problem. The man responsible for overblown epics such as Relax and Poison Arrow wasn't giving them the Horn they were looking for. So they didn't have to rein him in? "Au contraire," answers Neil Tennant. "We were trying to rein him out."
In the end, as Tennant and Chris Lowe's new album, Fundamental, proves, they got what they wanted, but it wasn't without a struggle. "We kept saying to him, 'We're making a Trevor Horn album here,'" recalls Tennant. "The reason we started working with him again was because of that tATu single, which was proper Trevor. We thought, 'Oh, he's doing pop again': first of all, a pop record; second, a pop record with two Russian lesbians. I said to him, 'You know, you should only work with homosexuals.'"
The great man's sonic imprint is all over new songs such as Casanova in Hell, Minimal and The Sodom and Gomorrah Show. On the first, the cellos detumesce down the scale seconds after Tennant has sung: "He couldn't get an erection." "Actually, we nearly cut those out," says Tennant, "because we thought they might be too arch." "What's wrong with arch?" asks Lowe. On Minimal, Horn ignores the tenor of the song by pelting it with pizzicato strings that are straight out of ABC's The Lexicon of Love. And on S&G — a giant journey from innocence to depravity to regret — well, Tennant admits he cheated. "We were trying to do a real Trevor there," he says, "and I thought, 'You'd have backing vocals here, wouldn't you?' So I put them on — and it sounds like Dollar."
Tennant in the mood he's in today is unstoppable. Flitting from one subject to another in the space of seconds, he'll marvel at the 24-hour nature and vapidity of contemporary celebrity-mag discourse, then veer off down memory lane about Dollar. "I interviewed them for Smash Hits (which, famously, he once edited). I went and bought make-up at Boots with Thereza Bazar." He's off. "David Van Day is a surviving kind of guy. I know he's got the chip van, but he also tours with a version of Buck's Fizz."
"He was never in Buck's Fizz," Lowe protests. "But there's a kind of weird logic that the guy from Dollar is in Buck's Fizz," reasons Tennant. Do you ever do pub quizzes, Neil? "I've never been in a pub in my life," he splutters. "Although someone said to me, 'You know, everyone who knows you agrees that if they were on Who Wants to be a Millionaire?, you'd be the friend they'd phone.'"
They're not always like this. Lowe, cruelly inaccurate though the stereotype of him as monosyllabic and scowling beneath his baseball cap is, can play to it when he wants. And Tennant in picky, guarded mode can be a scary prospect. If the joke's on you, beware; on him, and you can relax. Asked to settle, once and for all, whether it's Pet Shop Boys or The Pet Shop Boys, he pokes fun at his penchant for pedantry. "It's Pet Shop Boys. We confuse the issue by calling ourselves the Pet Shop Boys." He pauses before pouncing. "With a lower-case 't'."
Yet critical reaction to them can also be contrary, and sometimes wilfully ignorant. Quite apart from releasing some of the greatest pop singles of the past 20 years, PSB have also made at least three classic albums, with Fundamental now making it four. Detractors dwell on their apparent archness or snag on the perceived contradiction between their innate melancholia and giddy, hi-NRG hedonism. This misses, surely, PSB's uniqueness, which is that they locate the sadness that always resides somewhere in silliness, and vice versa.
Tennant's droll vocal style has also attracted criticism. "Some people think my voice sounds disengaged," the singer acknowledges. "But I think that gives the songs emotional punch. When people take a song and drag it by the scruff of the neck, they don't necessarily get emotion out of it." On the great new track I Made My Excuses and Left (a very PSB title), the subject of the song walks into a party to discover his lover with someone else. Tennant's delivery of the line "I walked into the room/Imagine my surprise", manages, by being conversational and resigned, to set the tragic scene with visceral power. He once, famously, told the American songwriter Diane Warren: "We don't do passion." By which he meant? "That I'm not Mariah Carey." And you imagine Carey lathering that same line with demented coloratura and know immediately what Tennant means. Warren has contributed a song — Numb — to Fundamental, though she was keen for PSB to cover another of her compositions. The title proved a problem. "She couldn't get why the Pet Shop Boys wouldn't sing Kisses on the Wind," Tennant laughs. "Imagine getting the label to say: 'The great new Pet Shop Boys single — Kisses on the Wind'." (Less)
Art of Noise - Drum and Bass Collection 2009-06-28 - extension: rar - size: 66 MB
Art of Noise - Drum and Bass Collection
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