The location of Gnarls Barkley�??s secret New York show has been unveiled as the Fillmore at Irving Plaza, with Battles announced as the opening act.
As previously reported, the band will play a Myspace secret show in the city on June 8, marking the 150th such show presented by the social networking site.
Neil Diamond�??s May 7 show at the tiny venue The Bitter End in New York was one such show, and artists from The Cure to Justice have all played the series so far.
Gnarls Barkley are currently supporting the release of their album �??The Odd Couple�?? which they released in March, several weeks earlier than the scheduled release date.
--By our New York staff.
Find out more about NME.
Thursday, 26 June 2008
Monday, 16 June 2008
Madonna Scraps Documentary Screening At Glastonbury
Madonna has scrapped plans for the U.K. premiere of her documentary I Am Because We Are to be held at an English music festival, after tickets for the event failed to sell. The Holiday hitmaker was reportedly planning to screen her latest documentary, which focuses on the plight of Malawian children, at Britain's Glastonbury festival later this month . However, the event has struggled to shift tickets, with rapper Shawn 'Jay-Z' Carter's headlining slot at the event being blamed for a decrease in demand, as the festival usually focuses on a rock-orientated line-up. According to the Britain's Mail On Sunday newspaper, the Queen of Pop wanted to follow the screening with a possible question and answer session with festivalgoers, but has been put off by the lack of interest in this year's event. A source tells the publication, "Madonna hoped the film could be shown on the Saturday and there was talk of a question and answer session. "But poor ticket sales for the festival put her off. After talks with the organisers it was decided the festival was not the right venue to showcase the film."
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Friday, 13 June 2008
Guard at Carnegie museum charged with vandalizing painting
PITTSBURGH - A former guard at the Carnegie Museum of Art has been charged with vandalizing a painting he apparently did not like.
Timur Serebrykov, 27, of Pittsburgh, faces a formal arraignment on July 29.
Court documents indicate the suspect used a key or other implement to cut or gouge the unidentified painting because he apparently disliked it.
Museum spokeswoman Betsy Momich would not comment beyond confirming that a piece of art was vandalized and a suspect was arrested. Police and court documents described the painting only as being worth more than $5,000.
Police spokeswoman Diane Richard would not comment.
The Carnegie Museum houses works by 19th-century artists Winslow Homer, Mary Cassatt and Camille Pissarro, as well as 20th-century painters Marsden Hartley, Mark Rothko and Jackson Pollock.
Serebrykov was arrested May 20, four days after the vandalism allegedly was caught on surveillance tape.
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Najee Plays
Artist: Najee Plays
Genre(s):
Other
Discography:
Songs From The Key Of Life ( A Tribute To Stevie Wonder)
Year: 1995
Tracks: 18
Loon
Artist: Loon
Genre(s):
Rap: Hip-Hop
Discography:
No Friends
Year: 2006
Tracks: 15
When Puff Daddy changed his name to P. Diddy and revived his Bad Boy label with a new roster of talent in 2001, as commemorated on his The Saga Continues album, Loon climbed onboard and promptly rode to the top of the charts as the featured knocker on Diddy's "I Need a Girl, Pt. 2" the following summer. It then took another year and a half in front Loon got his own solo display case, when Bad Boy released his self-titled solo album in late 2003, lED by the single "How You Want That" featuring Kelis on the hook. The album redact the smooth-rapping Loon as a sorting of Mase redux, though listeners didn't take to him quite as fervently as they had the rapper-turned-preacher five age in front.
Acoustic country acts electrifying in concert
One way current country stars trump mainstream pop’s big names is singing ability. Most Nashville, Tenn., moneymakers can belt circles around today’s crop of just-add-water urban divas.
At the Hard Rock Cafe on Tuesday at an all-acoustic benefit in conjunction with WKLB-FM (Country 102.5), back-to-twang headliner Blake Shelton and fast-rising country-pop sensation Lady Antebellum proved that artists on both sides of country’s coin have enough innate talent to perform in the buff, musically speaking.
The Georgia-meets-Nashville trio Lady Antebellum delivered a heap of contagious, harmony-driven confections backed by a single acoustic guitar. Such tracks as the opener “Loves Lookin’ Good on You” and the runaway smash “Love Don’t Live Here” stood up even without the rock-tinged production of the group’s recently released, self-titled debut. In fact, the bare setting allowed the music’s beautiful gospel leanings to shine through.
Both lead vocalists, Charles Kelley and Hillary Scott, have solid voices and plenty of sex appeal on their own, but it’s really the sum of Lady Antebellum’s three parts - guitarist/harmony singer Dave Haywood rounds out the trio - that makes its sound soar. Covers of the Doobie Brothers’ “Long Train Runnin’ ” and Otis Redding’s “Hard to Handle” (popularized by the Black Crowes) filled out the set.
Shelton’s short stint also oozed with talent - save for the ridiculous poem he read about halfway through. Alone on stage with his six-string, Shelton’s uber-masculine Budweiser/Marlboro Man image came across believably on such playful numbers as “The More I Drink” and “Playboys of the Southwestern World,” and he indulged Hub country fans’ hillbilly fantasies by calling the crowd “a roomful of rednecks.”
Still, he did best when exposing a bit of vulnerability, and sang most powerfully when pouring himself into the ballads “Austin” (changed for the occasion to “Boston”), “The Baby,” “Home” and “Don’t Make Me.”
Unfortunately, the crowd’s chatter and inebriated behavior reduced the performances to incidental background fodder.
BLAKE SHELTON and LADY ANTEBELLUM at the Hard Rock Cafe, Tuesday night.
At the Hard Rock Cafe on Tuesday at an all-acoustic benefit in conjunction with WKLB-FM (Country 102.5), back-to-twang headliner Blake Shelton and fast-rising country-pop sensation Lady Antebellum proved that artists on both sides of country’s coin have enough innate talent to perform in the buff, musically speaking.
The Georgia-meets-Nashville trio Lady Antebellum delivered a heap of contagious, harmony-driven confections backed by a single acoustic guitar. Such tracks as the opener “Loves Lookin’ Good on You” and the runaway smash “Love Don’t Live Here” stood up even without the rock-tinged production of the group’s recently released, self-titled debut. In fact, the bare setting allowed the music’s beautiful gospel leanings to shine through.
Both lead vocalists, Charles Kelley and Hillary Scott, have solid voices and plenty of sex appeal on their own, but it’s really the sum of Lady Antebellum’s three parts - guitarist/harmony singer Dave Haywood rounds out the trio - that makes its sound soar. Covers of the Doobie Brothers’ “Long Train Runnin’ ” and Otis Redding’s “Hard to Handle” (popularized by the Black Crowes) filled out the set.
Shelton’s short stint also oozed with talent - save for the ridiculous poem he read about halfway through. Alone on stage with his six-string, Shelton’s uber-masculine Budweiser/Marlboro Man image came across believably on such playful numbers as “The More I Drink” and “Playboys of the Southwestern World,” and he indulged Hub country fans’ hillbilly fantasies by calling the crowd “a roomful of rednecks.”
Still, he did best when exposing a bit of vulnerability, and sang most powerfully when pouring himself into the ballads “Austin” (changed for the occasion to “Boston”), “The Baby,” “Home” and “Don’t Make Me.”
Unfortunately, the crowd’s chatter and inebriated behavior reduced the performances to incidental background fodder.
BLAKE SHELTON and LADY ANTEBELLUM at the Hard Rock Cafe, Tuesday night.
Lee Slams Eastwood For All White Cast
Spike Lee has launched a bitter attack on fellow filmmaker Clint Eastwood for failing to include black soldiers in his films about the Battle of Iwo Jima. The Do The Right Thing director insists African-American soldiers should have been included in Eastwood's Flags Of Our Fathers and Letters From Iwo Jima since hundreds took part in the 1945 battle for the Japanese island. Speaking at a press conference on Tuesday at the Cannes Film Festival in France, Lee said, "There were many African-Americans who survived that war and who were upset at Clint for not having one (in the films). That was his version: the negro soldier did not exist. I have a different version." Lee screened the world premiere of an eight-minute trailer for his forthcoming feature film Miracle At St Anna, a war drama about the all-black 92nd Buffalo Division, which fought against the Germans in World War II.
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Death Angel - Killing Season
As the metal world waits to see if Metallica can deliver the goods with a new album - or if it's just Greatest Hits that will see them through to their old age - Death Angel show just how much the legends have lost their way in recent years.
Thrash metal's teen prodigies in the late 1980s, Death Angel reformed in 2001 and picked up exactly where they left off. Their comeback, 2004's 'The Art of Dying', showed they'd lost nothing in terms of intensity, and with Foo Fighters producer Nick Raskulinecz now at the controls, they sound colossal and powered by what's to come, not nostalgia.
If you need one of those 'In Case of Emergency...' aggressive and up-tempo records in your life, this is as good as anything else out there right now - brilliant drumming and riffing with the speed matched by catchiness.
The more you listen the more you wonder which you'll be listening to more in 12 months' time - this or James Hetfield's & Co's make or break.
Harry Guerin
Thrash metal's teen prodigies in the late 1980s, Death Angel reformed in 2001 and picked up exactly where they left off. Their comeback, 2004's 'The Art of Dying', showed they'd lost nothing in terms of intensity, and with Foo Fighters producer Nick Raskulinecz now at the controls, they sound colossal and powered by what's to come, not nostalgia.
If you need one of those 'In Case of Emergency...' aggressive and up-tempo records in your life, this is as good as anything else out there right now - brilliant drumming and riffing with the speed matched by catchiness.
The more you listen the more you wonder which you'll be listening to more in 12 months' time - this or James Hetfield's & Co's make or break.
Harry Guerin
Pressure Point
Artist: Pressure Point
Genre(s):
Rock
Discography:
Youth on the Streets
Year: 2001
Tracks: 12
Cross to Bear
Year: 1999
Tracks: 12
The Mars Volta lines up fall headlining dates
Motorhead
Artist: Motorhead
Genre(s):
Metal: Heavy
Metal
Rock
Rock: Hard-Rock
Discography:
The Essential
Year: 2007
Tracks: 39
Kiss Of Death
Year: 2006
Tracks: 12
Inferno
Year: 2004
Tracks: 12
Stone Deaf Forever! (CD 5) - Live 1978-1999
Year: 2003
Tracks: 21
Stone Deaf Forever! (CD 4) - 1996-2002
Year: 2003
Tracks: 16
Stone Deaf Forever! (CD 3) - 1987-1996
Year: 2003
Tracks: 19
Tear Ya Down: The Rarities (CD 2)
Year: 2002
Tracks: 14
Tear Ya Down: The Rarities (CD 1)
Year: 2002
Tracks: 11
Hammered (Bonus Disc)
Year: 2002
Tracks: 3
Hammered
Year: 2002
Tracks: 11
25 and Alive Boneshaker
Year: 2001
Tracks: 17
We are Motorhead
Year: 2000
Tracks: 10
Everything Louder Than Everyone Else CD1
Year: 1999
Tracks: 14
On Parole (Remastered)
Year: 1997
Tracks: 13
Liar
Year: 1997
Tracks: 12
Overnight Sensation
Year: 1996
Tracks: 11
No Remorse (CD 1)
Year: 1996
Tracks: 12
Sacrifice
Year: 1995
Tracks: 11
Bastards
Year: 1993
Tracks: 12
All The Aces: The Best Of
Year: 1993
Tracks: 15
March Or Die
Year: 1992
Tracks: 11
1916
Year: 1991
Tracks: 11
Rock'n'Roll
Year: 1987
Tracks: 11
Orgasmatron
Year: 1986
Tracks: 9
Another Perfect Day
Year: 1983
Tracks: 10
Iron Fist
Year: 1982
Tracks: 12
No Sleep 'Til Hammersmith CD2
Year: 1981
Tracks: 11
No Sleep 'Til Hammersmith CD1
Year: 1981
Tracks: 18
Overkill
Year: 1979
Tracks: 11
Bomber
Year: 1979
Tracks: 10
Motorhead
Year: 1977
Tracks: 13
Ace of Spades
Year:
Tracks: 15
Motörhead's overpoweringly forte and fast style of heavy alloy was one of the most groundbreaking ceremony styles the genre had to offer in the previous '70s. Though the group's loss leader, Lemmy Kilminster, had his roots in the hard-rocking distance rock band Hawkwind, Motörhead didn't bother with his old group's progressive tendencies, choosing to hyperbolise the heavy biker rock candy elements of Hawkwind with the velocity of punk rocker rock. Motörhead wasn't tough rock -- they formed ahead the Sex Pistols and they loved the hell-for-leather imagery of bikers too much to conform with the safety-pinned, ripped T-shirts of tough -- only they were the first metal striation to rein that push and, in the process, they created speed alloy and flail metal. Unlike many of their contemporaries, Motörhead continued acting into the side by side century. Although the circle changed its lineup many, many multiplication -- Lemmy was its only reproducible member -- they never changed their hot good.
The word of a vicar, Lemmy Kilmister (born Ian Fraiser Kilmister; December 24, 1945) first began acting rock & roll in 1964, when he united deuce local Blackpool, England, R&B bands, the Rainmakers and the Motown Sect. Over the course of action of the '60s, he played with a number of bands -- including the Rockin' Vickers, Gopal's Dream, and Opal Butterfly -- as good as in brief working as a roadie for Jimi Hendrix. In 1971, he joined the heavy prog rock band Hawkwind as a bassist. Lemmy was originally slated to stay with the ring only 6 months, yet he stayed with the group for four years. During that time, he wrote and sung various songs with the band, including their signature birdsong, the issue three U.K. hit "Flatware Machine" (1972).
Lemmy was kicked out of Hawkwind in the spring of 1975, after he exhausted five years in a Canadian prison house for drug possession. Once he returned to England, Kilminster set some forming a new band. Originally, it was to have got been called "Bastard," but he before long decided to address the isthmus Motörhead, named afterwards the last song he wrote for Hawkwind. Lemmy drafted in Pink Fairies guitarist Larry Wallis and drummer Lucas Fox to round of golf stunned the card. Motörhead made its debut encouraging Greenslade in July. Two months by and by, the grouping headed into the studio to make believe its debut album for United Artists with producer Dave Edmunds. Motörhead and Edmunds clashed over the way of recording, resulting in the chemical group ignition the producer and replacement him with Fritz Fryer. At the end of the year, Fox left the band and Lemmy replaced him with his acquaintance, Philthy Animal (born Philip Taylor), an amateur musician.
Motörhead delivered its debut album to UA early in 1976, but the label spurned the record album. Shortly afterwards, other Blue Goose and Continuous Performance guitarist "Fast" Eddie Clarke joined the band. Following one rehearsal as a four-piece, Wallis left the band, going away Motörhead as a trio; this is the lineup that would later be recalled as the group's classic period. However, the band spent virtually of 1976 struggling, playing without a concentrate or coach and generating little money. At the end of the year, they thin a single, "Elwyn Brooks White Line Fever"/"Leavin' Here," for Stiff Records which wasn't released until iI geezerhood later. By the summer of 1977, the grouping had signed a one-record contract with Chiswick Records, cathartic their eponymic debut in June; it under the weather at number 43 on the U.K. charts. A year later on, the band sign with Bronze Records.
Overkill, Motörhead's first album for Bronze, was released in the springiness of 1979. The album peaked at number 24, piece its claim running became the band's low gear Top 40 strike. Motörhead continued to gain momentum, as their concerts were marketing advantageously and Bomber, the reexamination to Overkill, reached number 12 upon its fall button. The band was doing so well that UA released the spurned album at the end of the year as On Parole. Allied Command Europe of Spades, released in the fall of 1980, became a number foursome hit, piece the single of the same name reached number 15.
I of Spades became Motörhead's first American album, in time the group was making small head in the U.S., where they only registered as a cultus act. Back in England, the situation could scarcely get been more different. Motörhead was at the peak of its popularity in 1981, cathartic a hit coaction with the all-female grouping Girlschool entitled Headgirl and entrance the charts at number i with their live record album, No Sleep 'Til Hammersmith. Though the chemical group was rising commercially, on that point was stress within the ring, particularly betwixt Clarke and Lemmy. Clarke left the band during the encouraging spell for 1982's Branding iron Fist, reportedly maddened by Kilmister's planned quislingism with Wendy O. Williams. Former Thin Lizzy guitarist Brian Robertson replaced Clarke.
The new lineup released Another Perfect Day in the summer of 1983. Some other Perfect Day was a disappointment, only reaching number 20 in the U.K. Robertson left two months later, being replaced by 2 guitarists: former Persian Risk member Phillip Campbell and Wurzel (innate Michael Burston). Shortly afterwards, Taylor left to join Robertson's band Operator, and was replaced by quondam Saxon drummer Pete Gill. This lineup released a single, "Killed by Death," in September of 1984, just short subsequently the group left hand Bronze and the label filed an injunction against the dance band. As a result, Motörhead was prevented from cathartic whatever recordings -- including a outlandish collaboration betwixt Lemmy and page-three girl Samantha Fox -- for deuce years.
Motörhead in conclusion returned to legal action in 1986, first-class honours degree with a track on the charity compilation Hear 'n Aid and later with the Bill Laswell-produced Orgasmatron, which was released on their new label, GWR. Orgasmatron was successful with the band's still-dedicated cult consultation in England and America, and received some of the group's best reviews to date. The following twelvemonth, they released Rock 'n' roll 'N' Roll, which was evenly successful. In 1988, the live No Sleep at All appeared, and Lemmy made his playing debut in the drollery Wipe out the Rich. Two days later, the dance band gestural to WTG and released The Birthday Party. Taylor shortly rejoined the band in 1991, appearance on that year's 1916, ahead Mikkey Dee, at one time of King Diamond, took all over on drums. Dee's first gear record album with the dance band was 1992's March or Die, which didn't graph in the U.S. withal played to their U.K. religious cult undermentioned. WTG dropped the band later the album's release and the band started their possess label, appropriately called Motörhead, which was distributed through ZYX. Their first gear record album for the pronounce was 1994's Bastards.
For the remainder of the '90s, Motörhead saturated on touring more than than recording. Outside of the band, Lemmy appeared in indemnity commercials in Britain. He also acted in Hellraiser 3 and had a cameo in the erotica picture Saint John Wayne Bobbit Uncut. In 1997, the group affected to the metal-oriented indie pronounce Receiver and released Isidor Feinstein Stone Dead Forever; the live Everything Louder Than Everyone Else followed in 1999, and a year later they returned with We Are Motörhead. Hammered appeared in 2002 and was followed by 2004's Perdition. In 2005 the Sanctuary label reissued some of the band's graeco-Roman albums (Overkill, ACE of Spades, and Iron Fist) in two-CD luxe editions. A collection of all-new material, Kiss of Death, arrived in 2006.
50 Cent Meets Mandela
Rap star 50 CENT has enjoyed an intimate chat with former South African president NELSON MANDELA in his Johannesburg home.
The star, real name Curtis Jackson, is currently touring South Africa and Tanzania with G-Unit, and was lucky enough to be granted a meeting with the revered former politician at his armed security-surrounded home earlier this week (begs28Apr08), reports MTV News.
Jackson and nine others, including crew from MTV who are filming the trip, were invited into Mandela's living room, where he was reading the paper. The pair chatted in front of the cameras, before talking in private.
Earlier the same day, Jackson visited the Hector Pieterson Memorial museum in Soweto to meet Mandela's grandson, who gave the star a lesson on Apartheid and its effect on South Africa.
The documentary will be shown through MTV later this month (May08).
The star, real name Curtis Jackson, is currently touring South Africa and Tanzania with G-Unit, and was lucky enough to be granted a meeting with the revered former politician at his armed security-surrounded home earlier this week (begs28Apr08), reports MTV News.
Jackson and nine others, including crew from MTV who are filming the trip, were invited into Mandela's living room, where he was reading the paper. The pair chatted in front of the cameras, before talking in private.
Earlier the same day, Jackson visited the Hector Pieterson Memorial museum in Soweto to meet Mandela's grandson, who gave the star a lesson on Apartheid and its effect on South Africa.
The documentary will be shown through MTV later this month (May08).
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