I was wondering who are people's favorite musical act of the present and past. I thought it may be interesting to contrast between the two artists, and discuss the differences between each time period and type.
When I was a teenager, I was a big fan of Huey Lewis & the News. I liked their rough, bluesy sound. I was also into Adam Ant and all manner of the New Wave groups. I liked the plastic transcience of that scene. I still do. It was the very embodiment of "Eat, drink, and be merry, for tomorrow we die." Today my favorite band is Rebecca's Mask. www.rebeccasmask.com Rebecca's Mask is a band from the San Jose, California area. Her voice is something else. It soars like a bird on the lyrics, strong yet delicate. The music is described by one fan as "dark, pretty music", and best of all they haven't been corrupted by any record labels. The music is their own, with a few covers thrown in that have pretty much spoiled me away from the original recordings of those songs. Click on the link to hear some of their music and wander through the playground of your soul. PS: No, I don't work for them. I'm just a real big fan.
When I was a teenager it was Hootenannies (boy that tells my age) Now I enjoy Clapton amongest others.
I would have to say that my favorite band is Medeski, Martin and Wood. John Medeski is a madman. I've only been able to see mmw live once since they travel in the East much more than the west, but the man is all over the place playing his various keyboards. He simply has one of the phatest organ sounds that I have ever heard. Not only that is a master piano player. The concert I went too mmw played for 45 minutes before the first break in the music. Each musician just took a solo to develop into the next song. MMW is pushing the bounds of jazz and in 30 years will be considered masters. When I hear of someone seing Trane that is what is going to be like when I tell people I saw mmw. In the past I was a Jimmy Buffet fan and a classic rock fan. I have pretty much abandoned rock music because I find it boring compared to jazz, funk and hip-hop.
My tastes aren't as unusual... Hey less main stream artists are fine, not knocking them. As for me I currently enjoy David Gray, the Dave Matthews Band as a lighter more relaxed musical escape. But on a harder side I love Weezer, the Green Album is the best rock album I've heard in a long time. As for artists of the past, I like a lot of groups and artists. I don't have enough time to include them all, but I do like most Motown, and my favorite older acts are Jim Croce, Elvis, Sinatra, and of course the infamous Beatles. What tallent!
I´m a sucker for Cat Stevens. And other plesant music of that kind. Ted Gärdestad is a Swedish musician, who I have listened to since I was a child. He killed himself a few years ago though. Please Register or Log in to view the hidden image!
Pink Floyd for a long time captureded My imagination. I listened for hours. There were a lot of sound effects in it and with a good sound system it would really bring it out. And yes chagur, Moody Blues included.
I think so ... Damn, don't they teach you young'uns anything in school today? I'm pretty sure the Moody Blues are a Cha-Cha band.
Bjork et Celine My 2 favorite singes are Bjork and Celine Dion. They both have truly acomplished a lot from being child stars in their respective miniscule markets. I think Bjork, however, is one of the great creative talents in the past 25 years. She does not seem to trick us into thinking she's larger than life; she merely presents herself as it has been so uniquely laid out inside of her. She has a voice that is totally different and a sense of style that is totally unique, beautiful, and immense in the way it relates on both a personal and cosmic scale. Besides that, however is the fact that she has churned out some of the most innovative and histoeic music videos, of which her first totally turned the industry on its head. Her first album also changed the way we look at dance music, as it was a personal re-interpretaion of it. Although she meets criticism for being insane, I think it's mainly because are not used to someone so honest and I have to admit she has one hell of an accent. I like Celine bacause she has a total drive to succeed and is actually aware of her place as a person, not a celebrity. She is not afraid to speak her mind, she knows her knowledge is limited and is not afraid to acknoweledge that she sings for herself and for her fans, not to change the world. Not to mention the fact that she has the world's most beautiful voice and has (yes!) outsold all female solo artists, including madonna. She is the only 'diva' to win the Grammy for best album and holds the #1 and #2 spots for total airplay on a single. Success aside, she holds a special place in my heart.
I guess, I am the odd one here. I grew up with Beatles, Elvis and Jazz. These days I like: Light Classical, Chamber music, Lite Jazz ( Chuck Mangioni, Gover Washington, Spyro Gyra etc.), New Age (Yanni, Andreas Vollenweider, Medwyn Goodall, Kitaro, David Benoit, Chris Botti, etc.) Vangelis, Ravi Shankar, Benedictine Chants, Sanskrit Chants, Celtic Music Electronic such as La Bouche , Latin: Los Indios Tabaharas, Julio Hindi music: the oldies (which is more like the blues, Hindi Classical (Sitar & Tabla ensemble)
Toughie These days I listen to a lot of Floater. End of story. I won't apologize for that. As a schoolboy I listened to Styx, Twisted Sister, and King Diamond more than is probably healthy. (In approximately that order from about second grade on.) My first Lp's were Elton John's Greatest Hits, I believe the first one, with Daniel, Honky Cat, and Don't Let the Sun Go Down on Me; Alice Cooper's Billion Dollar Babies (my favorite songs, incidentally, were I Love the Dead and Raped and Freezing ... if you haven't heard the song, say nothing, please); and I think there was a Steve Miller Greatest Hits in there with Jet Airliner, ElectroLux Imbroglio, Jungle Love and a few others. I was about 7 or 8. But right now it's Floater, Belle & Sebastian, and of late, Radiohead. There is no simple answer to the topic. My primary musical theme actually is narrative rock and roll; my first Styx album was Kilroy was Here, and I have a copy these days. King Diamond's Abigail and Them blew my mind; I still listen to The Wall more than I should; Toad the Wet Sprocket's Fear; Belle & Sebastian ... Lazy Line Painter Jane is one of my favorite singles ever; a less-known heavy metal band called Savatage put out an Lp called Streets: A Rock Opera which sold about as miserably as you would expect, but really did achieve a remarkable amount for the genre in its production. I've decided to stop at that, because I really could go on all day. thanx, Tiassa Please Register or Log in to view the hidden image!
Life is good beats the bleating heart Music is everything to me… Right now I’m in one of those moods where Radiohead’s Street Spirit seems like it must be the greatest song in existence. It’s been on my head all day. I lent out my Bends and Ok Computer albums a while ago and I’m suffering from withdrawal. There are few bands that can touch any given person and bring them to this entirely elevated state of consciousness. Bands that can live inside a person, and be the constant narroration for their lives. Bands that can point to a finite point in a persons being and help to find a great affinity with their every waking moment, every desire, every belief, and essentially every emotion. Bands that people obsess over spend hours and hours each day listening to them. Radiohead would qualify as being one of those bands for me. But truly, the one group that has affected my life the most is the Smashing Pumpkins. Without their daring, relentlessly adventurous output of music spanning over many genres, fueled by a plethora of sincere seemingly contradictory emotions I certainly would not be the person I am today. The poetry inspired me in wonderful ways and opened my eyes to perceive the world in a distinctly ambitious and aesthetic fashion. I appreciate things a lot more, and I also demand the great purpose in everything I do, which is why I shy a way from superfluous activities. The guitar effects, vocal tones, mellifluous lyrics carry me into another world while at the same time remind me there is no escape; I’m entranced by them, and there have been many days where it seemed as if the one constant in my life was this band. The one thing that would never let me down and would always be there to embrace the world through an imaginative child’s eyes, when the rest of the world is concerned with mundane, pragmatic affairs. Bleh! Soul, and Heart, should always be at the forefront. Without dreams, there is nothing. And with each and every song the band ever created, no heart beats louder.
XTC, Radiohead, Miles Davis, Billy Joel, David Bowie, Thelonius Monk....um, I better stop now... Please Register or Log in to view the hidden image!
Welcome to scifourms Ajarnbkk... Welcome to scifourms, on behalf of all the junior and senior members. I encourage you to visit every fourm on the site, and don't be afraid to give your oppionons. That is the entire purpose of this site. Good luck, and have a good time. Please Register or Log in to view the hidden image!
BEST OF THE BEST!!!!! <IMG SRC="http://w1.191.telia.com/~u19104970/images/johnnie1.jpg"> http://w1.191.telia.com/~u19104970/johnnielee.html <IMG SRC="http://w1.191.telia.com/~u19104970/images/hookcol.jpg"> <FONT COLOR="RED"><FONT SIZE="5">"John Lee Hooker Biography"</FONT COLOR></FONT SIZE> by Claus Röhnisch "The Boogie Man" - "Po´ Slim" - "The Hook" - "The Blues Giant" - "Iron John" Guitarist and modern urbanized country blues singer, with roots in the rich Delta tradition. Born in Mississippi, raised up in Tennessee: Born August 22, 1917 on a share-cropper farm south of Clarksdale, Miss. (Hooker himself has given other dates of birth, - often 1920 and other files say anything between 1917 and 1923, but 1917 is accurate; after his death - in his home in Los Altos, California on June 21, 2001 - the Hooker family confirmed his birth date as August 22, 1917). John Lee´s mother was Minnie Ramsey, married to his father (share-cropper and spare-time preacher) William Hooker (only religious music was allowed). John had six brothers and four sisters - of which not all survived. The family moved to a new farm (the Fewell plantation) at Vance, Miss (again not far from Clarksdale) in cirka 1920 (where John met Snooky Pryor and Jimmy Lane - later known as Jimmy Rogers - Hooker also claims Blind Lemon Jefferson came to visit when Johnnie was eight years old, and he also remembers Blind Blake and Charlie Patton). The parents separated in cirka 1928 and Johnnie, who was the only child leaving with his mother, got a stepfather - William Moore (from Shreveport, Louisiana, no recordings, but a local Clarksdale blues musician). From Moore Johnnie learned tunes like "Pea Vine special", "Rather drink muddy water", "My starter won´t start", "Don´t turn me from your door" and "When my first wife quit me"). Around 1930 Hooker started playing the guitar, which he says was given to him by Tony Hollins, who had courted his sister - and later he got his second from William Moore. Hooker also was influenced by Tommy McClennan and much of Hooker´s greatness may be due to his natural youth mix of gospel and blues. Hobo Blues - Drifting from door to door: Hooker left Mississippi the first time around 1931 and moved to Memphis in cirka 1932 - as a teenager - staying at an aunt´s and working at the cinema "New Daisy" (and possibly also the W.C. Handy Theater) on Beale Street. Johnnie claimed that he during his Memphis stay worked with Robert Nighthawk, Eddie Love (brother of pianist Willie) and the pianist Joe Willard. He soon "hoboed" again - this time he spent a period in Knoxville and arrived in Cincinnati in cirka 1935 (or possibly 1936) - singing the blues and working with gospel groups like the Big Six, the Delta Big Four, and the Fairfield Four in the evenings - and in factories, theatres/cinemas and warehouses during daytime. The years between 1939 and 1943 are unaccounted for (except for a short spell in the army - stationed near Detroit; Hooker may have traveled in the South too). <i><font color="purple"><b>BOOGIE CHILLEN´ </b> Well , my Mama she didn´t allow me, just to stay out all night long, ... ooh, Lord! Well , my Mama didn´t allow me, just to stay out all night long, I didn´t care if she didn´t allow me, I was boogie-woogie´n´ anyhow. When I first came to town, people, I was walkin´ down Hastings Street, I heard everybody talkin´ ´bout the Henry Swing Club. I decided to drop in there that night, and when I got there, I say, yes people, they we´re really havin´ a ball, yes I know ..... ... boogie, chillen´! One night I was layin´ down, I heard Mama and Papa talkin´, I heard Papa tell Mama: Let that boy boogie woogie, ´cause it´s in him and it got to come out! Well, I felt so good, and I went on boogie-woogie´n´ just the same, ... yes .....</i></font color> - by John Lee Hooker<img src="http://w1.191.telia.com/~u19104970/images/hooker23.jpg"> Starting out - Boogie Chillen´: Hooker started his developing as the world´s leading "traditional blues" singer via his arrival in Detroit in cirka 1943, first working at a Receiving Hospital and later at Dodge and Comco Steel. He first married Alma Hope, but soon parted and then he courted Sarah Jones for a couple of years until he married Maude Mathis (two sons and four daughters). In the evenings he got small jobs at the clubs around Hastings Street. Legend has it: T-Bone Walker handed Johnny Lee the first electric guitar, as John became T-Bones "kid" when T-Bone was working in Detroit during 1946-48. "Johnny Lee" (as most of his friends called him) invented his own "unique" style (non-rhyming, sometimes out-of-rhythm) and was introduced to Bernie Besman (Sensation Records and together with co-owner John Caplan, the Pan American Record Co.) in 1948 by Elmer Barbee, Hooker´s original "manager", who "discovered" Hooker playing with his trio at the "Apex" bar on Monroe Street (although "legend" says Besman "discovered" Hooker at Lee Sensation´s bar "Russell & Orange"). Barbee continued to promote Johnnie, after the Besman introduction, for other record labels, most of them recorded in Barbee´s record shop at 609 Lafayette Street, but most of Hooker´s early recordings up into 1952 were recorded by Bernie Besman at United Sound Studios Inc. at 5840 2nd Blvd. Besman leased several tracks to the Bihari brothers (Modern - of Hollywood) and issued others on Sensation (a Detroit label). Almost a hundred alternates and variations were "kept in the can" and later issued on album compilations. First recordings - When my first wife left me: Detroit, June 12, 1948 "Rocks" (unissued) and unissued demo recordings for manager Elmer Barbee in cirka July/August, 1948: "Leavin´ Chicago" (aka "Highway Blues"), "Wednesday Evening Blues" and "When My Wife Quit Me" (aka "When My First Wife Left Me", and issued as "Drifting From Door To Door" on Modern in 1949). First recordings for Bernie Besman - Henry´s Swing Club: Hooker´s debuting record was cut at United Sound Studios with Joe Siracuse, engineer in September, 1948. It was "Boogie Chillen´" c/w "Sally May" - released November 3, 1948 on the West Coast label Bihari-owned Modern label, # 20-627 - with "Sally May" titled "Sally Mae" on later issues (just as the second take of that song). On that session a further two originally unissued titles were recorded: "Highway Blues" (aka "Highway 51") and "Wednesday Evening Blues". Hooker also made two alternate boogies that day, later titled "Johnny Lee´s Original Boogie" (better suited title would have been "Detroit Boogie") and "Henry´s Swing Club". At least four 78´s by Hooker, recording under different pseudonyms were issued before Hooker´s follow-up to "Boogie Chillen´", "Hobo Blues" c/w "Hoogie Boogie" (on King, Regent, Savoy, Danceland and possibly also Acorn).<img src="http://w1.191.telia.com/~u19104970/images/hbild.jpg"> Poor Slim´s Battle - Stomp Boogie: After Hooker´s "Boogie Chillen´" local success Hooker started to "moonlight" under several pseudonymes for other Detroit producers, especially for Joe Von Battle in Joe´s Record Shop at 3530 Hastings Street; most of them as "Texas Slim" (originally intended to be issued as "Po´ Slim"). The first five pirate issues were: ""Black Man Blues" c/w "Stomp Boogie" on King (as Texas Slim), "Goin´ Mad Blues" c/w "Helpless Blues" on Regent (as Delta John), "Low Down Midnite Boogie" c/w "Landing Blues" on Savoy (as Birmingham Sam), "Do The Boogie" c/w "Morning Blues" on Acorn (as The Boogie Man) - all recorded by Battle plus a Barbee recording: "Wayne County Ramblin Blues" c/w "Grievin´ Blues" on Danceland (as Little Pork Chops with an unknown lead singer on the flip). Later several records were made as "John Lee Booker" (for Battle and Henry Stone) - and a bunchful of wonderful recordings were made for Idessa Malone as "Johnny Williams" - even Gotham in Philadelphia recorded Hooker as "Johnny Williams" and as "John Lee". Eddie Burns, hca; John T. Smith, gtr; Andrew Durnham, gtr; and James Watkins,pno sporadically worked with Hooker during the early years. Detroit - Chicago; and from Coast to Coast - Boom Boom; It serves me right to suffer: From mid 1952, when the Bihari brothers (owners of Modern Redords) got tired of Besman leasing recordings to other labels (see "Ground Hog Blues" coupled with "Louise" - which were issued on both Chess and Modern) - Joe Bihari took over as producer in Detroit (still with United Sounds´ Joe Siracuse as engineer) and Hooker toured with "second" guitarist Eddie Kirkland, with whom he worked several times thruout the years. JLH worked with his own band from 1953 - the Boogie Ramblers in Detroit (including Bob Thurman and later Vernon "Boogie Woogie Red" Harrison, pno; Tom Whitehead, dms; Jimmy Miller, tpt; and Johnny Hooks and later Otis Finch, sax). Hooker´s contract with Modern was terminated by the end of 1954 (or more probably early 1955) and John signed a contract with Vee-Jay Records and switched recording locations to Chicago (Universal Studios) during 1955 - 1964 (with Jimmy Bracken, Ewart Abner and Calvin Carter producing - later also Al Smith). From 1965 Hooker regularly recorded in New York, due to his new-signed contract with ABC Records after Vee-Jay´s bankruptcy. Hooker moved to Oakland, California in 1970 (something he had longed for - and regularly recorded in Los Angeles during the early ´70s). His accompanying The Coast To Coast Blues Band of Frisco/L.A. area (with several famous white rock musicians) backed him in the ´70s (and variations including his son Robert Hooker and later Deacon Jones on keyboard toured with him during the ´80s and ´90s). Hooker settled in the San Francisco Bay suburbans during the ´90s. The Blue Rose organization from 1988: manager Mike Kappus, producer Roy Rogers, artist John Lee Hooker. John Lee Hooker on Records - I´m in the mood: Hooker made records for Modern and Sensation as John Lee Hooker 48-52; plus under pseudonymes for a.o. Savoy, King, Chess, DeLuxe, and Fortune 48-54. Then came Modern 52-55, Specialty 1954, VeeJay 55-64, Riverside 59-60, Chess 1966, ABC/Bluesway 65-74, Tomato 1977, Chameleon (Silvertone in Europe) 1989, Pointblank/Virgin 1990 plus. Among his most well-known recordings are: "Boogie Chillen´", "Hobo Blues", "Crawling King Snake", "House Rent Boogie", "I´m In The Mood", "Dimples", "No Shoes", "Whiskey And Wimmen", "Boom Boom", "It Serves Me Right To Suffer", "One Bourbon, One Scotch, One Beer", "I´ll Never Get Out Of These Blues Alive" and "The Healer".<img src="http://w1.191.telia.com/~u19104970/images/hookweb.jpg">
MUSICAL MYSTERY TOUR,,,, <FONT SIZE ="5"> AEROSMITH ! ! !</FONT SIZE> <i> sHURLY YOU MUST BE JOKING bob! ! ! ! ! ! !</I>
OF COURSE THE BEATLES!! Also Crosby, Still, Nash & Young Chicago America Steely Dan Yes, I know, I'm showing my age. Big Deal!
