Download Terry Riley mp3

Artist: Terry Riley: mp3 download    Genre(s):  Ethnic Easy Listening     Discography:      Moscow Conservatory Solo Piano Concert    Year: 2001    Tracks: 6      Imbas Forasnai    Year: 1994    Tracks: 6      Persian Surgery Dervishes    Year: 1993    Tracks: 2      Reed Streams    Year: 1968    Tracks: 3      Poppy Nogood and the Phantom Band All Night Flight, Vol. 1    Year: 1968    Tracks: 5      Music for the Gift - Bird of Paradise - Mescalin Mix    Year: 1963    Tracks: 12      In C - 25th Anniversary Concert    Year:     Tracks: 1      A Rainbow in Curved Air    Year:     Tracks: 2 Minimalist open up Terry Riley was among the to the highest degree revolutionary composers of the postwar epoch; famed for his kickoff appearance of repeating into Western medicine motifs, he besides masterminded early experiments in tape recording loops and delay systems which left wing an unerasable mark on the experimental music produced in his waken. Riley was congenital June 24, 1935 in Colfax, California, and began playing professionally as a solo piano player during the 1950s; by the midsection of the decennium he was poring over composition in San Francisco and Berkeley, where among his classmates was comrade minimalist innovator La Monte Young. Influenced by John Coltrane and John Cage, he began exploring receptive temporary expedient and cutting edge music, and in 1960 composed Mescalin Mix, a musique concrète bit composed for the Ann Halprin Dance Company consisting of tape measuring stick loops of various go under up sounds. By the early '60s, Riley was on a regular basis holding solo reed organ performances starting time at 10:00 pm and continuing until sunrise, an obvious forerunner of the overnight tube raves to follow decades later. After graduating Berkeley in 1961, his next major work was 1963's Music for the Gift, composed for a play written by Ken Dewey; among the first pieces e'er generated by a tape delay/feedback system, it employed two tape recorders -- a setup Riley dubbed the "Time Lag Accumulator" -- playing a loop-the-loop of Chet Baker's interpretation of Miles Davis' "So What." The loop effect sparked Riley's interest in repeating as a way of musical expression, and in 1964 he accomplished his most far-famed act, the minimalist breakthrough In C; a bit constructed from 53 disunite patterns, it was a watershed composition which provided the conception for a modern musical grade assembled from mesh repetitious figures. In time, Riley besides well-read to play saxophone, introducing the legal instrument into his supposed all-night flights; these larger-than-life improvisational performances became the base for his to the highest degree successful recordings, 1968's Poppy Nogood and the Phantom Band and the following year's A Rainbow in Curved Air, the music's cyclical patterns and etheral atmospheric static predating the rise of the ambient conception by several age. In 1970, Riley made the number 1 of many trips to India to study below vocal original Pandit Pran Nath, with whom he frequently performed in the years to come up; some other collaborator was John Cale, a pairing which resulted in the 1971 LP Church of Anthrax, arguably Riley's to the highest degree widely-known transcription outside of experimental euphony circles. Throughout the 1970s, he besides taught composing and North Indian Raga at Mills College in Oakland, California. A geminate of early-'70s live performances -- 1 in L.A., the other in Paris -- resulted in the 1972 album Farsi Surgery Dervishes, a work of ruminative simple machine music clearly prescient of the spell level-headed to survey. Around the like time, piece on staff at Mills, he befriended David Harrington, violinist of the Kronos Quartet; their camraderie yielded a add up of nine string quartets, the keyboard quintette Crows Rosary and The Sands, a concerto for string quartette and orchestra licenced by the Salzberg Festival in 1991. Another Riley/Kronos collaboration, 1989's Salome Dances for Peace, was even nominated for a Grammy. Recording less and often as the age passed, Riley agreed to phase a execution celebrating the silver medal day of remembrance of In C which was then released in 1990.

Download Achim Reichel mp3

Artist: Achim Reichel: mp3 download    Genre(s):  Rock Folk     Discography:      Wahre Liebe    Year: 1993    Tracks: 12      Regenballade    Year: 1991    Tracks: 9      Melancholie und Sturmflut    Year: 1991    Tracks: 11      Klabautermann    Year: 1991    Tracks: 10      Eine Ewigkeit Unterwegs    Year: 1988    Tracks: 10      Best of    Year:     Tracks: 17 German isaac Merrit Singer, songster, musician, and producer Achim Reichel enjoyed a long and varied vocation that began during the beat bunce of the '60s, when he founded the Rattles, and carried on well into the next millenary, by which time he was still recording albums and playing large-scale stone concerts. Born on January 28, 1944, in Wentorf bei Hamburg, Schleswig-Holstein, Reichel began his music calling in 1960, when he, as a singer/guitarist, formed the Rattles with bassist Herbert Hildebrandt in Hamburg. The dance orchestra, along with the Lords, proven one of Germany's leading beat bands of the twenty-four hours, for example touring England with the Rolling Stones in 1963 and touring Germany with the Beatles in 1966. Reichel left wing the ring in 1966 later several albums, including Pull im Star-Club Hamburg (1964), Liverpool Beat (1965), and Hurra! Die Rattles Kommen (1966), and later entered the Bundeswehr (i.e., the German armed forces). Upon Reichel's going away from the military, he formed some other dance orchestra, Wonderland, whose debut single, "Mocow" (1968), was a Top 15 attain. Next he formed the observational solo project A.R. & Machines, which debuted with Perish Grüne Reise (1971) and followed with a succession of Krautrock-fashioned albums: Echo (1972), 3 (1972), 4 (1973), and Autovision (1974). In 1975, Reichel released Digital audiotape Shanty Alb'm, a shockingly straightforward ingathering of sea shanties that was a clxxx degree turn away from the experimentation of A.R. & Machines; too of note, the record album was song in German, different his late releases, and was billed to himself quite than a group cognomen, deuce characteristics that were common to his serial albums as well. Reichel's embrace of volksmusik, particularly of the magnetic north, continued in the few eld that followed, with albums including Klabautermann (1977) and Regenballade (1978), the latter of which was critically praised. In the wake up of Regenballade, Reichel, in conjunction with Frank Dostal, formed the label Ahorn in hopes of showcasing German-language rock bands of the day. Along with the advent of Ahorn, Heiße Scheibe (1979), a showcase for contemporary writers and Reichel himself, reflected his interest in moving out of the past and into the present. Also during the mid to late '70s, Reichel strained as a producer, on the job with such bands as Novalis, Kiev Stingl, Neil Landon, and Emsland Hillbillies. During the early '80s, Reichel released a trio of straightforward rock'n'roll albums that were song in German and critically praised: Ungeschminkt (1980), Blues in Blond (1981), and Nachtexpress (1983). Reichel too toured for the first clip in days, mounting encouraging tours for both Blues in Blond and Nachtexpress in 1982 and 1984, respectively. In 1983, amid all of this natural process, "Der Spieler" (from Blues in Blond) became his first solo hit single, charting at number 27 and coming into court on the ZDF-Hitparade. "Packer Kutte" (from Nachtexpress) too made the ZDF-Hitparade in 1983; Reichel himself made a total of 3 personal appearances on the TV usher that twelvemonth. In 1986 he acted as a camber robber, Paul, in the celluloid Va Banque; released an album, Eine Ewigkeit Unterwegs; and appeared once again on the ZDF-Hitparade, this clip in support of his tally "Eine Ewigkeit Unterwegs." After another go, Reichel recorded a solo record album, Fledermaus (1988), and reunited with the Rattles for Hot Wheels (1988), a reunion album; some other solo album (Was Echtes) and Rattles reunion (Painted Warriors) followed in 1989 and 1990, respectively. The nineties were some other successful and productive decennium for Reichel, as he continued cathartic albums and touring, and began to chart with regularity. All-new studio albums included Melancholie und Sturmflut (1991), Wahre Liebe (1993), Oh Ha! (1996), and Entspann Dich (1999); hit singles from these albums included "Ciao Heya He" (1991), "Kuddel Daddel Du" (1992), "Auf der Rolltreppe" (1992), "Amazonen" (1993), and "Wahre Liebe" (1993); thither was as well the live album Große Freiheit (1994), an attended TV concert special commemorating Reichel's 50th birthday, the solo best-of Herz Ist Trumpf (1997), and the A.R. & Machines best-of Echos aus Zeiten der Grünen Reise (1998). Reichel continued his activity in the ensuing x, cathartic Billy Wilder Wassermann (2002), a return to volksmusik; 100% Leben (2004), a live CD/DVD commemorating his 60th birthday; and Volxlieder (2006) -- all of which charted. Moreover, he published a songbook, 100% Leben, via Gorilla Musik-Verlag.

Massachusetts Faces $13.3B In Unfunded Retiree Health Care Costs, According To Report

Simon Wickham-Smith and Richard Youngs

   
Artist: Simon Wickham-Smith and Richard Youngs

   Genre(s): 
Rock
   

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Discography:


   
 Metallic Sonatas

   Year: 1998   
Tracks: 15

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Steven Halpern and David Friesen

Scott Hamilton and Bucky Pizzarelli

   
Artist: Scott Hamilton and Bucky Pizzarelli

   Genre(s): 
Pop
   

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Discography:


   
 The Red Door (...Remember Zoot Sims)

   Year: 1998   
Tracks: 10

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Charlize Theron - Theron Opened Up About Dads Death To Aids Orphans

CHARLIZE THERON broke her vow never to discuss her late father's death when she returned to her native South Africa in March (08) and met with children orphaned by AIDS.

When she was just 15, the actress watched her mother shoot dead her abusive dad in self defence.

Theron, now 32, has always refused to discuss the incident - but opened up to the kids she encountered at a mobile Aids testing and counselling clinic she helped to fund in Kwazulu-Natal.

She explains, "These kids deal with death every day. Many of them do not have one or both parents, and I thought (talking about my father) was a way for me to say, 'Whether you have one parent or zero parents, you can turn that negative into a positive.'"

And she explains she has turned the tragic experience into a positive lesson: "My father had a horrible disease. He was an alcoholic. I could have been one of those adults who go through life not taking responsibility and saying, 'I didn't have a (good) example (of a father).' But actually, I had the best example. I had the example of what not to do. It was up to me to choose a life and to live that life."

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Joel Mull

   
Artist: Joel Mull

   Genre(s): 
Other
   Techno
   

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Discography:


   
 Sunny Hills EP

   Year: 2007   
Tracks: 3


   
 Unknown EP

   Year: 2003   
Tracks: 2

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Lil Wayne's Tha Carter III Preview: Does The Year's Most Anticipated Hip-Hop LP Live Up To The Hype?

We can all breathe a sigh of relief. Lil Wayne has teased us for a couple of years, but now the gates on his highly guarded project are opening. Tha Carter III is really coming out, and we definitely won't be talking "grand opening, grand closing" on June 10. Despite his album leaking and the music industry suffering from an overall decline in sales, some experts are expecting Wayne to sell a million in his first week.

It's easily the most anticipated hip-hop LP since 50 Cent's Get Rich or Die Tryin' five years ago. Weezy has earned every last accolade (including a space on our latest "Hottest MCs in the Game" list). It's not catching the vapors if you talk highly of someone who's really that great — great, not good. During the last three years, Wayne has grown to be the MC who challenges his listeners the most. He's been unorthodox in subject matter, flows, song structure, collaborations and beat selection. Predictability isn't on his radar. He hasn't been in the same neighborhood as conventional for quite some time.

Have there been some suspect verses, some suspect songs here and there on the litany of mixtapes we've heard him on over past two years? Of course. How could there not be? It feels like we've heard hundreds of songs from him in that time frame. Other MCs have made a plethora of records as well, but we only hear their best work — or what they feel is their best work. Wayne hasn't had that luxury. His product has been so sought-after that his material has always been bootlegged.

Records like "I'm Me" and "I Feel Like Dying" have become instant classics simply through word of mouth and Internet blog talk. At his concerts, tens of thousands recite these underground tunes like they've been top-ten hits. And we already know what's up when he does it officially. TCIII's first single, "Lollipop," is one of the biggest records of the year, going to #1 on the Billboard Hot 100 chart. "A Milli" is so huge on the streets, it feels like a #1 record.

Last week, Tha Carter III leaked. That's to be expected within two weeks of any hot album's release. Universal hasn't panicked and pushed up the date. The only tears on Wayne's face are tattooed. Everyone knows what they have on their hands: the first pure hip-hop classic of 2008.

This writer has had the chance to preview some of the records during this two-year-plus journey to Tha Carter III. Last summer, it was Cool & Dre playing a rough instrumental of "Phone Home," a furious ode to Wayne's seemingly superhuman ability to destroy every vocal booth. Dre made a movie right in the studio, telling me about a hook he had in mind that went, "Phone home! Phone home! If you feel like you're the best doing the Weezy We." The over-6-foot master producer did his Wayne-inspired jig, jumping and pointing one finger in the air, while the always, well, cool Cool smiled in approval. On the finished record, the rap extraterrestrial — straight from "planet Weezy" — channels his inner outer-limits inhabitant: "We are not the same, I'm a Martian/ Hip-hop is my supermarket/ Shopping cart filled with fake hip-hop artists."

Wayne himself rapped some lyrics from "Dr. Carter" for MTV News back in January while shooting pictures for his
album artwork. Then he played "Lollipop," "A Milli" and a record that turned out to be "La La" on his tour bus around NBA All-Star Weekend. Needless to say, this writer never felt nervous about Birdman Jr. living up to the hype. Not just the hype of the album — the expectations for this project are probably some of the loftiest since Snoop dropped Doggystyle. But Wayne is also living up to the hype of being at the peak of his artistry and setting the standard for all other MCs this year, yesssirrr.

If Tha Carter III were a piece of architecture, it would be a cross between a rugged project building, a lush condominium complex and a fun house.

He starts off with "3 Peat," which is entertaining at every turn with its background violins, B-boy humor and soulful, unsystematic melody. "Swallow my words, taste my thoughts/ And if it's too nasty, spit it back at me," Weezy raps. "It's the New Orleans nightmare, money so old it's growing white hair."

Who better than Just Blaze to produce the second collaboration between Wayne and Jay-Z? "Mr. Carter" immediately reels you in with a sample that goes, "Hey Mr. Carter/ Say where you been?" Hov and Weezy engage in a back-and-forth of lunchroom rap. Which is not to say that anything they're saying is elementary. Quite the contrary. The track is a lyrical slugfest that will undoubtedly have all the kids at school debating who killed it the best. And the winner is ... us. Young Carter's opening verse describes how the four seasons hate him because he has all of their signature traits. Later, elder Carter declares that he has no problem eventually passing the torch to Wayne: "I'm right here in my chair/ With my crown and my dear Queen B/ As I share mic time with my heir .../ Go farther, go further, go farther/ Is that not why we came?/ If not, don't bother."

Incidentally, "Comfortable" seems to be inspired by one of Beyoncé's big songs. It gives the man's perspective of dealing with a girl who thinks she's "irreplaceable." Babyface takes over on the hook, coming from obscurity and sounding as crisp as he did when he sang about paying some girl's rent back in the '80s. Face warns the woman not to take their relationship for granted: "If you don't love me, someone else will." Weezy F. Baby comes in saying, "To the left, to the lefty/ If you want to be my guest, you can step."

From its title, "Tie My Hands" sounds like another one of Wayne's freaky tales, especially when you see that ladies' man Robin Thicke is the track's guest. Instead, the New Orleans Fireman spits social commentary about tragedy in his hometown: "They try to tell me keep my eyes open/ My whole city underwater, some people still floatin'/ Then they wonder why black people still votin', 'cause your president's still jokin'/ Take away the football team, the basketball team, now all we got is me to represent New Orleans/ No governor, no help from the mayor/ Just a steady beatin' heart and a wish and a prayer."

Album closer "Misunderstood" gives a humanistic look at Dwayne Carter and ends with a calm but seething invective against the Rev. Al Sharpton and anybody else who has protested hip-hop music.






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