hey guys, sorry about the delay. I had matter to attend to.
I can't do a full right up right now but I will tomorrow when I get home.
My pick is under the UK category with Coldplay
hey guys, sorry about the delay. I had matter to attend to.
I can't do a full right up right now but I will tomorrow when I get home.
My pick is under the UK category with Coldplay
I was thinking about taking them to fill my UK slot if they fell a couple more rounds on the hope that they lost some love after pulling out of their calgary date. No luck I see. As pissed as I am at them its hard to get passed that they are the creators of some beautiful songs.
hey guys, sorry about the delay. I had matter to attend to.
I can't do a full right up right now but I will tomorrow when I get home.
My pick is under the UK category with Coldplay
wow you made it by 4 minutes! That's pretty good
__________________
Watching the Oilers defend is like watching fire engines frantically rushing to the wrong fire
With our 5th pick in the draft, troutman's K-Tel Sound Explosion, selects in the US East of Mississippi Category, from New York, New York, SONIC YOUTH:
http://www.allmusic.com/cg/amg.dll?p...ifuxqr5ld0e~T1 Sonic Youth was one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do. Their trio of independent late-'80s records — EVOL, Sister, Daydream Nation — became touchstones for a generation of indie rockers who either replicated the noise or reinterpreted it in a more palatable setting. As their career progressed, Sonic Youth grew more palatable as well, as their more free-form songs began to feel like compositions and their shorter works began to rock harder. During the '90s, most American indie bands, and many British underground bands, displayed a heavy debt to Sonic Youth, and the group itself had become a popular cult band, with each of its albums charting in the Top 100.
Q: I love the title of your book. What do you think was the role of Sonic Youth’s music in the transition to the 21st century?
A: Thanks—I like the title too (and happily admit that I cribbed it from their own album). I thought it was perfect in that Sonic Youth, along with a few of their peers, really did seek to remake and remodel the idea of pop music—songwriting, collaboration, guitar tunings and such—and remove it from any long-held connections to vernacular music (blues, country, and such). They weren’t the only ones to experiment with those notions and structures, but they were really were among the first of a new breed of rock band.
Dirty Boots
Teenage Riot
One of the best records of the past decade Sonic Youth's "Daydream Nation" is for my money not only the best SY album, but the best rock record or just record period in the past decade or so of good old rock n' roll, or 'alternative', if you must, since anything electrified passes as an alternative to good music nowadays. From the great and unforgettable "Teenage Riot" to "Trilogy" and the fantastic "Providence", this is an album that was ahead of it's time them, and stands the test of time now. The fantastic guitar structures and dynamics of the songs make for an absolute treat for the ears and mind. - Steve Albini
With my 5th round Pick, scwf's Creeping Death, proudly selects in the “Instrumentalist” category, the King of the Surf Guitar – Mr. Dick Dale
Quote:
Dick Dale wasn't nicknamed "King of the Surf Guitar" for nothing: he pretty much invented the style single-handedly, and no matter who copied or expanded upon his blueprint, he remained the fieriest, most technically gifted musician the genre ever produced. Dale's pioneering use of Middle Eastern and Eastern European melodies (learned organically through his familial heritage) was among the first in any genre of American popular music, and predated the teaching of such "exotic" scales in guitar-shredder academies by two decades. The breakneck speed of his single-note staccato picking technique was unrivalled until it entered the repertoires of metal virtuosos like Eddie Van Halen, and his wild showmanship made an enormous impression on the young Jimi Hendrix. But those aren't the only reasons Dale was once called the father of heavy metal. Working closely with the Fender company, Dale continually pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing the thick, clearly defined tones he heard in his head, at the previously undreamed-of volumes he demanded. He also pioneered the use of portable reverb effects, creating a signature sonic texture for surf instrumentals. And, if all that weren't enough, Dale managed to redefine his instrument while essentially playing it upside-down and backwards -- he switched sides in order to play left-handed, but without re-stringing it (as Hendrix later did).
Dick Dale was born Richard Monsour in Boston in 1937; his father was Lebanese, his mother Polish. As a child, he was exposed to folk music from both cultures, which had an impact on his sense of melody and the ways string instruments could be picked. He also heard lots of big band swing, and found his first musical hero in drummer Gene Krupa, who later wound up influencing a percussive approach to guitar so intense that Dale regularly broke the heaviest-gauge strings available and ground his picks down to nothing several times in the same song. He taught himself to play country songs on the ukulele, and soon graduated to guitar, where he was also self-taught. His father encouraged him and offered career guidance, and in 1954, the family moved to Southern California. At the suggestion of a country DJ, Monsour adopted the stage name Dick Dale, and began performing in local talent shows, where his budding interest in rockabilly made him a popular act. He recorded a demo song, "Ooh-Whee Marie," for the local Del-Fi label, which was later released as a single on his father's new Del-Tone imprint and distributed locally. During the late '50s, Dale also became an avid surfer, and soon set about finding ways to mimic the surging sounds and feelings of the sport and the ocean on his guitar. He quickly developed a highly distinctive instrumental sound, and found an enthusiastic, ready-made audience in his surfer friends. Dale began playing regular gigs at the Rendezvous Ballroom, a once-defunct concert venue near Newport Beach, with his backing band the Del-Tones; as word spread and gigs at other local halls followed, Dale became a wildly popular attraction, drawing 1,000s of fans to every performance. In September 1961, Del-Tone released Dale's single "Let's Go Trippin'," which is generally acknowledged to be the very first recorded surf instrumental.
Surf music became a national fad, with groups like the Beach Boys and Jan & Dean offering a vocal variant to complement the wave of instrumental groups, all of which were indebted in some way to Dale. But in 1964, the British Invasion stole much of surf's thunder, and Dale was dropped by Capitol in 1965. He remained a wildly popular local act, but in 1966, he was diagnosed with rectal cancer, which forced him to temporarily retire from music. He beat the disease, however, and soon began pursuing other interests: owning and caring for a variety of endangered animals, studying martial arts, designing his parents' dream house, and learning to pilot planes. In 1979, a puncture wound suffered while surfing off Newport Beach led to a pollution-related infection that nearly cost him his leg; Dale soon added environmental activist to his resumé. In addition to all of that, Dale performed occasionally around Southern California throughout the '70s and '80s.
In 1986, Dale attempted to mount a comeback. He first recorded a benefit single for the UC-Irvine Medical Center's burn unit (which had helped him recuperate from potentially serious injuries), and the following year appeared in the beach-movie sendup Back to the Beach. The soundtrack featured a duet between Dale and Stevie Ray Vaughan on the Chantays' surf staple "Pipeline," which was nominated for a Grammy for Best Rock Instrumental. In 1991, Dale did a guest spot on an album by the San Francisco-based Psychefunkapus, and a successful Bay Area gig got him signed with Hightone Records. The album Tribal Thunder was released in 1993, but Dale's comeback didn't get into full swing until, in 1994, "Miserlou" was chosen as the opening theme to Quentin Tarantino's blockbuster film Pulp Fiction. "Miserlou" became synonymous with Pulp Fiction's ultra-hip sense of style, and was soon licensed in countless commercials (as were several other Dale tracks). As a result, Tribal Thunder and its 1994 follow-up Unknown Territory attracted lots of attention, earning positive reviews and surprisingly strong sales. In 1996, he supported the Beggars Banquet album Calling Up Spirits by joining the normally punk- and ska-oriented Warped Tour. Adding his wife and young drum-playing son to his band, Dale refocused on touring over the next few years. He finally returned with a new CD in 2001, Spacial Disorientation, issued on the small Sin-Drome label.
[quote=socalwingfan;1342424]With my 5th round Pick, scwf's Creeping Death, proudly selects in the “Instrumentalist” category, the King of the Surf Guitar – Mr. Dick Dale
Pipeline with Stevie Ray Vaughan
Nitro
Misirlou
Dick was pretty sick! But I was kinda thinkin that Link Wray may be the "king"
With the 5th round Pick (90th) Hanna Sniper's EC and the G-String Band, selects in the “Album” category, Pink Floyds and David Gilmour’s masterpiece performance Dark Side of the Moon
Quote:
The Dark Side of the Moon (titled Dark Side of the Moon in the 1993 CD edition) is a concept album by the British progressive rock band Pink Floyd. It was released on March 17, 1973 in the U.S. and March 24, 1973 in the UK.
The Dark Side of the Moon builds upon previous experimentation Pink Floyd had done, especially on their album Meddle. Its themes include old age, conflict and insanity; the latter possibly inspired by the deteriorating mental state of their former band leader Syd Barrett. The album is notable for its use of musique concrète and conceptual, philosophical lyrics, as found in much of Pink Floyd's work.
The band's most successful release, The Dark Side of the Moon spent 741 consecutive weeks (14 years) on the USA-based Billboard 200 album chart, the longest duration of any album in history. Additionally, the album holds the record of spending the highest amount of time on the Billboard charts, staying there for more than 1,500 weeks (almost 29 years). It is one of three albums tied for the claim of second highest selling album globally of all time, selling forty million or more units. In addition to its commercial success, The Dark Side of the Moon is often considered to be the group's defining work, and is still frequently ranked by music critics as one of the greatest and most influential albums of all time.
test
Speak to Me / Breathe / On the Run
Time
The Great Gig in the Sky
Money
Us and Them
Any Colour You Like
Brain Damage / Eclipse
__________________ 2018 OHL CHAMPIONS
2022 OHL CHAMPIONS
Nooooooo!!!!! I suppose I should have known DSOTM would be gone by the time I came back up. Actually I'm somewhat shocked it was still available in the 5th round, considering it is the greatest album in the history of time.
