Man, this thing has ground to a halt. Disappointing. I'm sure Girly Sports doesn't mind the break though!
__________________ I am in love with Montana. For other states I have admiration, respect, recognition, even some affection, but with Montana it is love." - John Steinbeck
Sorry guys, had some family matters to attend to. I'll take The Hives out of Sweden in the Europe category. Not really much depth to their music but they put on a great show which is where their value lies.
Sorry guys, had some family matters to attend to. I'll take The Hives out of Sweden in the Europe category. Not really much depth to their music but they put on a great show which is where their value lies.
F. stole my pick
nice pick. saw them live a couple months ago, was a sick concert.
With the 189th pick Whitetom selects Great Big Sea in the Canadian category.
Quote:
"Great Big Sea is not a band you just go and see, or a cd you just listen to. Great Big Sea is something you have to do."
Lead singer Alan Doyle's description of his band might be simple, but it comes close to describing the phenomena that is Great Big Sea. Their records are renowned for drawing together disparate threads of folk and pop music, while their shows are a storm of powerful singing, driving rhythms and soaring melody. Critics are often at a loss to describe the unique appeal of the band, who have built a strong and enduring career by combining the traditional music of their isolated Newfoundland home with a myriad of pop influences. CMJ New Music focused on "the band's rich vocal harmonies" based around four part singing which ranges from the sophistication of the Beach Boys, to the bellow of sailor's shanties. Dirty Linen raved about "the best party band that ever picked up a fiddle", while the Washington Post described "an explosively joyful noise". Great Big Sea themselves refuse to be put in any boxes.
With the 190th pick Whitetom selects Stewart Copeland in the drummer category.
http://www.stewartcopeland.net/Percussionist for rock bands Curved Air, 1974-77, and the Police, 1980s; composer of scores for films and television and of operas, including Holy Blood and the Crescent Moon, performed by the Cleveland and Fort Worth operas, 1989; formed band Animal Logic, 1989.
drumming lesson:
__________________
Watching the Oilers defend is like watching fire engines frantically rushing to the wrong fire
With our 10th round selection, BF & the BFFs is excited to select, from New York, New York, a band that left one of the largest musical footprints of all-time, influencing a stream of bands and movements that helped to shape the evolution of both alternative and mainstream rock, a band so far ahead of its time that its true significance was only recognized a full 20 years after they debuted... We bring you, in the category of US East of the Mississippi, the true poet-laureates of New York apathy, The Velvet Underground !!!!
Quote:
A famous remark, often attributed to British musician Brian Eno, is that while only a few thousand people bought the first Velvet Underground record upon its release, almost every single one of them was inspired to start a band.
Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid- to late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations -- which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics -- were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. The Velvets' music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years. By the 1980s, they were acknowledged not just as one of the most important rock bands of the '60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales.
Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group was uncompromising in their music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But their colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives have come to define street-savvy rock & roll.
I love this woman's voice. I'm pleased to select, in the female vocalist category, Melissa Etheridge.
Melissa Lou Etheridge (born May 29, 1961, in Leavenworth, Kansas) is an Academy Award-winning and two-time Grammy Award-winning Americanrocksinger-songwriter and musician.
In 1982, Etheridge moved from Leavenworth, Kansas to Los Angeles to break into the music business. She got some small gigs performing at The Candy Store on the Sunset Strip, as well as at least four lesbian or mixed bars, Robbie's, the Executive Suite and the Que Sera Sera in Long Beach and Vermie's in Pasadena. Some of her early fans from Vermie's gave her demo tape to Bill Leopold, a friend's husband who worked in the music business. Etheridge auditioned for Leopold, who was so impressed that he offered to represent her on the spot.
As Etheridge continued performing in lesbian bars in Los Angeles, Leopold arranged for music executives to come see her play. Eventually, she caught the attention of A&M Records, who hired her as a staff songwriter. For two years, Etheridge wrote music for A&M and many of her songs were recorded by mainstream artists. In 1985, Etheridge sent her demo to Olivia Records, a lesbian record label, but was ultimately rejected. She saved the rejection letter, signed by "the women of Olivia," which was later featured in Intimate Portrait (TV series), the Lifetime Television documentary of her life.
In 1986, Etheridge was signed by Island Records, but her first album was rejected by the label as being too polished and glossy. Given four days in the studio to re-record, she cut ten tracks which was released as her eponymous debut album.
Etheridge has released ten albums in her career. Three of them have gone multi-platinum: Melissa Etheridge (1988), Yes I Am (1993) and Your Little Secret (1995). Two others went platinum and two more gold.
Etheridge is a Bruce Springsteen fan, and she has covered his songs "Thunder Road" and "Born to Run" during live shows. She is also a fan of the Dave Matthews Band and has expressed interest in collaborating with them.
In October 2004, Melissa Etheridge was diagnosed with breast cancer. At the 2005 Grammy Awards, she made a return to the stage and, although bald from chemotherapy, performed a tribute to Janis Joplin with the song Piece of My Heart. Etheridge was praised for her performance, which was considered one of the highlights of the show. Etheridge's bravery was lauded in song in India.Arie's "I Am Not My Hair."[1]
for my next selection i will fill the male singer category selecting one of the masters of Funk and a personal favorite George Clinton
Quote:
Biography
George Clinton is one of the greatest innovators of urban based soul, rock and funk over the last forty years.
Now George has created his own label, The C Kunspyruhzy that will release George's first studio album in ten years, followed by solo recordings by individual members of the P-Funk empire. Clinton also plans to release a collection of Parliament-Funkadelic, and P-Funk All Stars live recordings gleaned from board tapes. Called the Uncut Funk Series, the live CD’s will incorporate some of the best shows over the past thirty years and will be augmented with superior graphics and extensive liner notes. “We got four generations of fans out there who keep bugging me to get these live shows out there, and now’s the time,” George says. “I’ve seen what the Grateful Dead have been doing with their archives, as well as bands like Pearl Jam, and I figured it was time to show the world what the funk is all about.”
Clinton has been showing the world what the funk is for fifty years and his career mirrors musical trends from doo wop to hip hop. While growing up in New Jersey, George was a teen age fan of Frankie Lyman and the Teenagers. After seeing them perform at a talent show, he decided it was time to get up and do his thing. First as the founding member of the Parliaments, Clinton started recording doo wop sides in the 1950’s, followed by a move to Detroit where the group finally hit pay dirt with their Number One R&B hit “(I Just Wanna) Testify” in 1967.
In 1968, George formed Funkadelic in 1968, a visionary band that combined acid rock with primal funk. Funkadelic carried the torch for George’s creative output until 1972 when, in a stroke of genius, George renamed the band Parliament and signed them to Casablanca Records, while Funkadelic signed with Warner Brothers in 1976.
Clinton now had two powerhouse bands signed to two different labels even though each band consisted of the same members. As George breaks it down, “Parliament was more orchestrated with horns and complicated vocal arrangements while Funkadelic was more a straight up rock band with a heavy rhythm section.”
With the growth of funk as a vibrant musical force, George was churning out landmark hits with both acts. Parliament was hitting with dance floor jams like “Tear the Roof Off the Sucker (Give Up the Funk),” “Aqua Boogie,” “Flashlight,” and “Bop Gun.” Meanwhile, Funakdelic was also hitting hard with anthemic funk jams like “(Not Just) Knee Deep” and “One Nation Under A Groove.”
As the Seventies came to a close, George Clinton soldiered on as a solo act and hit once again with the Number One Urban smash “Atomic Dog.” Times and music changed, but Clinton remained true to the funk and recorded a number of acclaimed albums for Prince’s Paisley Park imprint as well as Epic Records in the 1980’s and ‘90’s. And George and his touring band, the P-Funk All Stars, graced the stage at the Woodstock festival as well as on a popular Nike ad during the 2002 NBA playoffs, and a show stopping live performance with OutKast at the 2004 Grammy Awards.
Now the funky worm has turned with George back in control of his creative output with the C Kunspyruhzy label. “I can’t wait to grow this Pfunk thang all over again,” he laughs. “I got the old roots with the live concerts and the new branches with the various band members, as well as my own solo projects.” It’s the best of ALL worlds…all worlds funky that is!
I don't have a list yet, but I'll make the picks and post links a bit later (when I get home - darn work internet filters)
In the Category of KeyBoard/Piano:
- multi-Grammy winner in diverse categories (Best New Artist, Bluegrass, Pop Instrumental)
- toured extensively with The Greatful Dead
- appears on the albums of many other Artists including CSNY and Bob Dylan.
team Temporary (perhaps that name should be changed? Or maybe it is appropriate) proudly draft Bruce Hornsby
__________________
"The problem with any ideology is that it gives the answer before you look at the evidence."
—Bill Clinton
"The greatest obstacle to discovery is not ignorance--it is the illusion of knowledge."
—Daniel J. Boorstin, historian, former Librarian of Congress
"But the Senator, while insisting he was not intoxicated, could not explain his nudity"
—WKRP in Cincinatti
