DudeAsInCool

Probably running out of dough, and time to gear up again!

Paul McCartney plans to use a rare Beatles song that hasnt been heard in 35 years as the soundtrack to a film montage of his late wife Linda Photos, according to British press reports. According to Londons sunday times the 14 minute song called "Carnival of Light" was recorded at Abbey Road studios during sessions for the SGT PEPPERS album. the track reportedly was played only once,,,, during the art festival at Londons Chalk farm in Jan of 67.

Hendrix experiences life after death New live record,star-packed tribute album all part of fans’ banner year By Michael E. Ross MSNBC May 29 — Nearly 33 years after his death in London, at the height of his creative powers, the visionary rock guitarist Jimi Hendrix is unveiling another experience: an album of unreleased live Hendrix music is set to hit stores this fall — just one event in what’s shaping up to be a banner year for Hendrix fans. The Experience Music Project exhibition shows an early side to Hendrix: when the rocker served with the Army’s 101st Airborne Division; or when he played with Little Richard and the Isley Brothers. BESIDES THE LIVE SET, some of his classics will form the basis of a tribute album recorded by various top-shelf stars; a memorial is under construction near his hometown; and a museum largely inspired by the late guitar hero is soon to expand its collection of Hendrixiana. New unreleased Jimi Hendrix music: for his legions of fans, the phrase itself gets the juices flowing. Janie Hendrix — Jimi’s half-sister, and the president and CEO of Experience Hendrix LLC, the Hendrix family company — seemed to recognize that recently, tantalizingly doling out hints in an interview. “It’s a live concert — I can’t tell you yet which concert it is,” she said, with an ebullient mischief you could hear over the phone. “There are some legal issues we’re dealing with.” Janie Hendrix did say the album will include a performance from “part of his career with the Experience,” presumably the years between 1967 and 1969, during the apogee of his career with charter sidemen Noel Redding on bass and Mitch Mitchell on drums. The release will be out in this fall — “We’re aiming actually for October or November,” she said — and issued on the Experience Hendrix label, distributed by MCA/Universal. The pending release takes on a new historical resonance since Redding died earlier this month at his home in Ireland. ‘POWER OF SOUL’ The new release of Hendrix originals will be just one manifestation of the Hendrix sound in 2003. A star-crowded tribute record, “Power of Soul,” will bring Hendrix classics before a new audience, many of whom weren’t around when Hendrix died of complications from a sleeping-pill overdose in September 1970, at the age of 27. Janie Hendrix said the tribute album was largely inspired by a desire to recast the public understanding of Jimi Hendrix’s musical influences — to move beyond the perception of Hendrix solely as a rock musician. “There’s many tribute albums out, but we really wanted to give this an R&B flavor. He was blues- and jazz-inspired, and that’s what this album captured,” she said. “Every artist on it has been inspired by Jimi.” The tribute record, whose release Janie Hendrix said “we’re looking at before Christmas,” includes Carlos Santana performing “Spanish Castle Magic,” funksters George Clinton and Bootsy Collins teaming up on the title track; Earth, Wind & Fire playing “Voodoo Chile,” and Jeff Beck joining forces with Seal on a version of “The Wind Cries Mary.” The Hendrix classic “Red House,” one of Hendrix’s most forthright excursions into electric blues, will get two treatments on the disc: John Lee Hooker performs on a version recorded before his death in June 2001, and Prince checks in with a rendition (titled “Purple House” for the occasion). Others to appear on the record will include Philly soul crooner Musiq, veteran R&B singer Chaka Khan, and former Band of Gypsys sidemen Buddy Miles and Billy Cox. Sales of the album are to benefit the United Negro College Fund. JIMI, BEFORE THE BEGINNING Hendrix was one of rock’s most outrageous, extravagantly gifted talents, but the public’s knowledge of the late guitarist has rarely ventured beyond the flamboyant onstage persona that made him a legend, or the music that made him a household name. Starting June 7, the Experience Music Project (EMP) museum will mount an expansion of its most popular exhibit, one that intends to go beyond customary memorabilia to delve into the Hendrix mystique in its infancy — and very nearly his own. The Seattle-based EMP is teaming with Experience Hendrix on “Jimi Hendrix,” an exhibition of Hendrix’s life that will for the first time include materials from Hendrix’s family and childhood, and material from the years before his fluid, inventive rock guitar style exploded on the London scene in 1966. Images and artifacts from his childhood will be combined with a study of his music in the early stages of his career, and lesser-known aspects of Hendrix’s creativity. Much of the EMP’s expanded exhibit got a well-received four-month trial run at Cité de la Musique in Paris. At that venue, “there were thousands of people who came out to see it, all were impressed and went away in awe,” Janie Hendrix said, with familial hyperbole. “That exhibit is just a small portion of what’ll be at EMP.” BEHIND THE SPECTACLE ‘People think that he just ... appeared one day. But he also had a history and a life, from birth to childhood to adolescence to adulthood.’ For Janie Hendrix, the unprecedented release of so much personal information was necessary to widen public understanding of the rock icon so few really knew. “People think that he just ... appeared one day,” she said. “But he also had a history and a life, from birth to childhood to adolescence to adulthood. I think this shows the vital importance of his life and how he was, so that people can understand the other facets of Jimi.” Included will be artifacts of Hendrix and family in an earlier, less celebrated life: letters written to his grandmother; artistic sketches that explore his fascination with the supernatural; letters and photographs from when the champion of pacifism was a paratrooper with the U.S. Army’s storied 101st Airborne Division; personal items from when he played the ‘chitlin circuit’ touring America as an unknown, and from his stints with Little Richard and the Isley Brothers. The show looks at Hendrix’s work as a painter. “We’ve got paintings he did that he gave to his father, and some he entered into an art competition in high school,” said Jim Fricke, EMP curator. “They all give insight into his creative life and development,” he said. For Fricke, a veteran rock writer and editor, the exhibit represents a chance to do “a more comprehensive job of telling the story, with more things our visitors will get a charge out of.” Speaking from under his curatorial hat, Fricke noted how “there’s always tension between architects and curators,” and said the Seattle museum — designed by the whimsically dramatic architect Frank Gehry — presented challenges of presentation. “With a Gehry space, there’s no right angles,” he said. The Hendrix expansion will be part of fairly sweeping changes for the EMP as a whole. Fricke said that for museum visitors who haven’t stopped by in awhile — it opened in June 2000 — “it’s going to feel substantially different.” GRANITE, MARBLE AND BRONZE And there’s another long-awaited tribute, a lavish gesture of goodbye some have said is years overdue. The final touches will soon be applied to a new Hendrix tomb, a project more than three years in planning and building. In November, Hendrix’s body was exhumed from a nondescript gravesite at Greenwood Memorial Park in Renton, Wash., maybe a dozen miles from Seattle, and reinterred in a vault in a new location on the site. That vault will include a life-size bronze sculpture of the musician, a dome almost 30 feet high to be supported by granite columns accented in marble. “The memorial will be done probably this fall,” Janie Hendrix said. To her way of thinking, the memorial is the outcome of efforts by Al Hendrix, Jimi’s father and the founder of Experience Hendrix. Al Hendrix, who died in April 2002 after a long bout with heart disease, had made it a mission to see that a proper tribute for his son was completed. “My father really wanted this done,” Janie Hendrix said. “The doctors were amazed that he lived the extra year he lived. He was really trying to hang on for the memorial to be done.” FAVORITE SON, SORT OF ‘The Seattle city government has never given any due to this man’s cultural legacy.’ — CHARLES CROSS. Hendrix biographer Some have said Seattle’s relationship with its favorite rock and roll son has been fraught with coolness and an acknowledgement at arm’s length. In November the city of Seattle did take note of what would have been Hendrix’s 60th birthday. But to date there’ve been no streets or buildings named for him, and a few relatively minor statuary tributes: a bust and mural of the guitarist at Garfield High School, where he was a student, and a small statue in the city’s Capitol Hill district. Charles Cross, a biographer of Hendrix and of Nirvana’s Kurt Cobain (another product of the Pacific Northwest), told BBC News last year the oversight by officialdom is “almost criminal.” “The Seattle city government has never given any due to this man’s cultural legacy,” Cross told the BBC. • MSNBC © 2003 http://www.msnbc.com/news/903481.asp?Odm=N317L

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Top 100 Albums of the 90’s Redux It's been just over four years since Pitchfork published its first-ever Top 100 feature, Pitchfork's Top 100 Favorite Albums of the 1990s, and looking back at that list a lot has changed: our perceptions of the decade are different now, our personal tastes have expanded, our knowledge of the music has deepened, and excepting myself, Mark Richardson and Brent DiCrescenzo, the staff has turned over twice. It got me to thinking about how the musical landscape, too, continually changes. Revisionism ushers in new classics which had simply been forgotten, or altogether undiscovered, and while most truly essential albums will always be represented on these types of lists, even their relevance can be dictated by current trends. It occurred to me that, since we have the means, it might be worthwhile to revisit these lists every few years and see how they change. So, over the past few months, the current Pitchfork staff convened to tabulate their revised individual lists, with the ultimate goal of presenting an updated list of 1990s records that have remained essential into the first part of the new decade. A big surprise for me was just how different this new list is from the old one, and how many more albums we all felt deserved inclusion that, unfortunately, a list of only 100 records could not encompass. Among the casualties were Sleater-Kinney, Cat Power, Chavez, The Wrens, Throwing Muses, Spoon, The Roots, Mos Def, Happy Mondays, Archers of Loaf, Amon Tobin, Jay-Z, XTC, Morphine, Royal Trux, Jon Spencer Blues Explosion, Drive Like Jehu, Orbital, Super Furry Animals, Sunny Day Real Estate, Sebadoh, Snoop Dogg, Method Man, Mobb Deep, Low, Codeine, Flying Saucer Attack, The Sea & Cake, Underworld, Polvo, Shudder to Think, Trail of Dead, Cornershop, Shellac, Gang Starr, Gastr del Sol, John Zorn, Coil, Jawbreaker, Autechre, and countless others. But something we could all agree on were that the albums that did make the list belonged there. [NOTE: You are looking at the third and final installment of Pitchfork's Top 100 Albums of the 1990s feature. As an addendum, we will publish the lists of each individual writer tomorrow. Daily reviews and music news will return after the Thanksgiving holiday, on Monday, December 1st. For the entire listings, please go to: http://www.pitchforkmedia.com/

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QUOTE : I think the DA is less trying to make a name for himself as, perhaps, attempting to restore some of the credibility he lost 10 years ago when California law tied his hands in any attempt to prosecute Michael Jackson for his 1993 incident. No doubt. Off topic, what do you think about this site--any suggestions?

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Here is the bio on 3 Doors Down. Do you love em or hate em? If you were alive and even semi-conscious in the year 2000, you undoubtedly heard "Kryptonite" by 3 Doors Down. It was inescapable. The song and the debut album from which it leapt, The Better Life, defied the laws of gravity. Both clung to the top of any given chart--album, singles, multi-format radio--for most of that year and beyond. "Kryptonite," in more ways than one, was like the dude Brad Arnold was singing about: Superman. The song struck a huge literal and figurative chord with the populace, a full year before America truly needed a superhero. But who knew that then? Two years, four #1 singles, a couple of world tours, unprecedented radio success, multiple big award nominations, and a bazillion album sales later (alright, it shifted 6 million, but who's counting except the RIAA?), 3 Doors Down were back in the real-life Smallville that spawned the band back in 1996--Escatawpa, Mississippi, a mere hellhound's leap from the crossroads where Robert Johnson sold his soul. It's safe to say the members of 3 Doors Down—Brad Arnold, guitarist Matt Roberts, bassist Todd Harrell and guitarist Chris Henderson (with new drummer Daniel Adair who hails from Vancouver)--could afford to move anywhere in the world following their debut's rampant success. But the childhood friends remained down-to-earth and returned to their old hometown for a well-earned breather before recording the follow-up, Away From The Sun. "I came home (from touring) and didn't listen to any music at all," says Brad. "I had to let my head stop spinning. It was like I had been going 90 miles per hour for so long, and then it all came to an instant stop." The break didn't last long, however. After four months of relaxation, the band members "got the hunger to make music again." They rented a house and spent four hours a day crafting songs and jamming--just to play. "We worked just long enough that we weren't trying to force anything," says the singer. The success of that approach is evident on Away From the Sun. With the disc's twelve tracks, 3 Doors Down return to take their rightful place in the forefront of a musical resurgence they helped create. Mighty guitars, swaggering bass, meaty drums support big vocal melodies and even bigger lyrical sentiments. The band humbly calls it "good ol' American rock 'n' roll." Now, however, their sound has been road-honed. Produced by Rick Parashar (Alice in Chains, Pearl Jam, Blind Melon), Away From the Sun finds 3 Doors Down back with a vengeance and ready to rock. Most bands feel pressure to sidestep the dreaded sophomore slump, the expectations of the millions of listeners who'd purchased the debut, but Brad didn't have any worries. He had compelling subject matter: All that time spent on the road. "A lot of the lyrics on Away From The Sun are about loneliness," admits Brad. "On tour, you really have nothing but time on your hands. I was feeding off those feelings of isolation. With these songs, I wanted to convey to the listener that he or she is not alone--there are a lot of people who feel the same way." "The band has grown a lot on the road," he adds. "Our sound is different now," says Matt. " The music has grown. In one word, it's better." One listen to the first single, "When I'm Gone" and you'll agree. Brad wrote the lyrics to "When I’m Gone" one night in Puerto Rico, alone in his hotel room. "I was feeling like all these people thought they knew me when they really didn't," he says. "I want people to just to accept me as I am." You can practically feel Brad’s frustration when listening to the heartfelt lyrics. Radio is ‘feeling it’ in the US, making the single #1 Most Added at Mainstream, Modern and Active Rock formats with over 200 adds its first week out. The album’s title track, which Chris calls "our masterpiece" mixes one of the best air guitar chords in recent memory with dead-on lyrics about longing and how “Now and then [you] find yourself so far down away from the sun.” On "Running out of Days" and "Ticket to Heaven" the guitars and bass surround questions of fame and its price on family and friends. And "Here Without You" is the best road weary travel tune to come down the pike in a long while. Away From the Sun continues 3 Doors Down’s evolution to rock band supreme. "Dynamically, our sound is bigger," says Chris. They've come a long way from where they began but never strayed from their original goal which was to "make rock n' roll and good ol' American music."

http://www.3doorsdown.com

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Sodom's Tom Angelripper-Words of War If you were to look for a band that has embraced Metal in it's most aggressive and purest form with a consistency unmatched, Sodom would definitely come to mind. Going back to the earliest of their releases to their new album 'M-16', the band has remained aggressive and true to their beliefs. With the release of 'M-16', the band has taken a look back to the Vietnam conflict. The timing of this release is definitely ironic but not intentional with the current events and conflicts erupting in the world. Join me for an interesting chat with one of Metal's most interesting artists, Sodom's Tom Angelripper. Dave: Is the new album now out worldwide?? Tom: Yeah, it's on the SPV label in Germany and it's coming out worldwide. That's really important. Albums before like 'Code Red' and 'Til death do us unite', through Drakkar Promotions just came out in Europe and now we get the chance to release worldwide. Dave: Looking at the new album 'M-16', the album is about war, Vietnam in particular. I understand that Sodom recently took a tour of some war related sites. Talk about that experience a little bit. Tom: We did pick Vietnam and the war for this album. Everybody knows about Vietnam and Vietnam war movies, but the idea was to get more information about it, to go and talk to the people and get more information on the war. I didn't really get the information I want because they really didn't want to talk about war. The only thing they would say was 'I killed many American soldiers, but don't want to talk about it. I just want to talk about the future'. With what happened in Vietnam, it is now becoming commercial. There is a lot of war tourism. A lot of people go there to see the war crime museum and the Cu Chi Tunnel system. The Vietnam people want to make money with it. It was a great experience though, I liked it. Dave: That Cu Chi Tunnel system was the large network of tunnels used in the war?? Tom: Yes it is. Now it is like a park that the American people will visit. You go through the Cu Chi Tunnel system and you can buy Coca Cola and T-shirts. It's really, really commercial there. Dave: That is really interesting. Did you get to play a show over there while you were visiting?? Tom: No, we tried but it was impossible. We tried to get a show in a disco, but we couldn't. There is a very small Metal scene which is underground. I talked to some of the Metal fans and they had never heard some bands because the cannot buy Metal albums there. I don't know why. It's communism or the political system there. It's forbidden for the young people to have long hair or to hear Metal music. With the political system, they don't want any American or German bands playing there. It's really strange. Dave: Sounds like the fans may be getting the albums in interesting ways. Tom: Yeah, they can go to the internet and download it or get bootlegs of the albums. You cannot buy the official albums. It's a big market for the bootleggers over there. Dvd's and videos are really cheap. The people are really poor and cannot pay the price for official cd's. The cost is just too expensive for them. Dave: With a lot of your material dealing with war, how do you feel about the current events in the war on terrorism?? Tom: It's really bad. The people in Germany are really afraid of the war. When I saw the pictures for the first time, it was incredible, I couldn't believe it. Now a lot of people ask me why I bring out an album like this now. Everything like the music and the lyrics were finished before the World Trade Center. I don't know whether it is wrong or right, but I can understand that the Americans want the President to act, and I think for President Bush, war is the only answer. In Germany everyone is afraid of it because of the biologocal warfare and Osama bin Laden and the Taliban possibly having nuclear weapons. It is really, really bad. I have got a lot of inspirations for a new album and the new lyrics. Dave: That would definitely be an interesting approach. Lyrically, that would be some intense material. Tom: We never try to put our political opinions in the lyrics. I just want to describe. I am interested in the history. I cannot write something about World War II because there is just too much misunderstanding from Germany. Dave: So just to reiterate, it is descriptions of the wars the way you see them. Tom: Yeah, in my opinion this new album is an anti-war album. The message in the lyrics is please stop the war. It is my opinion that mankind cannot live without any war. When I want to write a new album about the Gulf crisis or Kosovo or all of the type of wars raging, we also want to shock the people and wake them up. I know most of the Sodom fans just like the music and don't read the lyrics. Dave: The timing was really ironic with this album coming out, but just so everyone realizes that this is something that was in the works long before. Tom: We also talked with the record company because they wanted to change the cover. I said 'Why?', It's like the movie 'Apocalypse Now', it's anti-war movie. We just wanna shock the people. Dave: There not gonna change the cover then?? Tom: No, there not. Dave: So how is the album doing?? Tom: All of the reactions have been positive. Most people say it is the best Sodom album ever. A lot compare it to 'Agent Orange'. When we arranged the songs it was important to write good songs and to better reflect the chorus in the songs. There are a lot of songs on the album that will be classics. It's positive and most people like it. In Germany we have talked about a Thrash revival. We now get more support from the magazines and the radio stations. Dave: You have a large catalogue from being around for a long time. How do you pick a setlist from all of this?? Tom: It is gonna be really difficult because from the new album we have to play 5 or 6 songs like 'Napalm in the morning', 'M-16', 'Genocide', and 'Minejumper'. We also have to play the all time classics, the German songs with the German lyrics like 'Agent Orange'. We will be going on tour in December. It will be really difficult. Dave: The tour in December is with Destruction and Kreator isn't it?? Tom: Yes. This wasn't possible in the past. Now we are getting older and more serious. This will be especially for the fans because the Destruction, Kreator, and Sodom sounds are the same. There may be a fourth band as well. Dave: Are you gonna play any places on this tour you haven't played before?? Are there any plans beyond the December tour?? Tom: We start the tour in December just for Europe. We will also try to keep this package together to play worldwide. If we get the chance we will stop in Russia. We also wanna do Asia in the next year. I also hope I get the chance to do a big U.S. tour. Dave: So nothing is confirmed for the U.S. yet?? Tom: Not yet. We are looking for a tour booking agency. Sodom played one time in America at the Milwaukee Metalfest. We were never really satisfied with this. We got no promotion or support and only played a 1/2 hour at this metal festival. If we find a serious booking agent we will do it because that is what we want to do. Dave: Do you feel that the recent security issues will affect your decision to play some areas?? Tom: Last week I got an offer to play Israel which is a very dangerous place. I cannot change my life, I wish to go on tour. I'm not really afraid. This cannot stop the music you know. Dave: So there are a lot of fans in some of those areas of the world then?? Tom: In Israel, yeah there are a lot of fans there. I know that some bands don't want to go because it is too dangerous, but I never mind. You don't make a lot of money there. They just pay the flight tickets, the hotel and the food is free and that is enough. Dave: How are the fans over there?? Tom: They get more crazy than in Germany. The thing in Germany is that you can see bands every weekend at any place. In Bangkok, the fans get really, really crazy. It's incredible and it's wonderful. It is really hard to prepare for Germany because everything is getting so commercial. Dave: Speaking of Germany, I ask a lot of the German musicians that I interview, the key to the longevity of the scene there. How do you weigh in on this?? Tom: Well, right now the market in Germany is getting reall, really commercial. Hundreds of new bands come out every month. It's a problem. The power and true metal bands are getting really big in Germany. The Thrash bands never really seem to get the support from the media or the magazines or anybody. I think that metal music has to get more aggressive and extreme, a revolution in the music. The scene there now can't be compared to the 80's because it is not a real metal scene. In the 80's the scene was more like a family. Right now there are too many different styles. I hope that the Thrash metal bands get bigger in Germany. The scene there is just too big right now. Dave: So what is the secret to Sodom's success and longevity?? You guys have been around for a very long time now. Tom: When we created this band we tried to create our own style. We didn't want to copy other bands like Venom. There was a bit of a Venom influence in the beginning, but we created our own style. It is important to not change and become trendy. That is why everyone in Germany is talking about a Thrash revival. Destruction, Kreator and others are getting more heavy. Sodom really is the only band that never changed really in 20 years. We never changed our way. We just do the music we want to do and like to do. That is the reason we are still alive. Dave: Let's look at the web. I looked around a bit to find Sodom sites and found some, but which one would you say is the official Sodom site?? Tom: There are 3 or 4 different websites that are not official. The Sodom Web Squad is the best Sodom site because it is updated and I always give them new material and information. It is important for a site to always be updated and be informative. I think the Web Squad is the best one. Dave: Talk a little bit about the Onkel Tom stuff you put out. Tom: I have some new material for a new album, but need to secure a label for it sometime next year Some want to hear the pre-production like SPV, but that will probably come together next year. Right now I am concentrating totally on the new Sodom album. The solo stuff does pretty well in Germany and is becoming more popular. Dave: That's about all I have, but do you have any parting thoughts for the fans?? Tom: I hope to find a booking agency and that everyone is interested in the tour. We do wanna go out. I think the time is right and that we need to go to America. Maybe we will do it next year in the Summer. I hope it all comes together. Dave: Well, thanks a lot for that chat.! Tom: Thanks!

darkmetal.co.uk serves up over 1500 links to over 300 bands. For more information: http://www.fielding46.freeserve.co.uk/index2.html

EMPIRE RECORDS is the culmination of my dream - the dream of a label which is a part of the world metal scene. I would really like to think that it is now that a new label is born which will join so many other eminent companies in releasing and promoting worthy metal artists. Below, I would like to briefly sketch EMPIRE RECORDS' history - where we have come from and where we hope to be going. My involvement in the metal scene goes back to 1986, which was the year when one of the best Polish metal magazines - THRASH'EM ALL - was born. I hope that most of you reading this know the title - I have worked with so many of you, always trying to keep professional and reliable. Currently, THRASH'EM ALL is a Polish-language bi-monthly with the total circulation of 5,000 copies. We are also preparing the English-language version, which should start coming out soon after Poland's accession to EU. I do not mention this fact without a reason - for many years Poland's isolation behind the Iron Curtain hampered my ideas. It was only in 1989 that I started to think seriously about extending my activity beyond. Under the moniker of Carnage Records I released VADER's "Morbid Reich" demo, which was recorded for the equivalent of 40 USD (however meagre the budget may seem to have been, back then it was still about 5 average monthly salaries!). The cassette was sold through mail-order only - eventually more than 10,000 copies were sold, which led to Headbangers Ball/MTV's naming "Morbid Reich" the best-selling death metal demo in history. The following years brought the acceleration of the label activity - both thanks to VADER's success and the distribution and licensing deals with a number of western labels. In the early 1990s Carnage Records was the first Polish metal label to release a licensed - as opposed to bootlegged ones - cassette. At that time Carnage was also the exclusive Polish representative for Osmose Productions, Earache Records, Black Mark Records, Holy Records and many others. Later, Carnage Records metamorphosed into Carrion Records, which continued the release schedule for another few years. In the late 1990s I decided to change the profile and, instead of licensing other labels' titles, to concentrate on developing my own roster. Unfortunately, the economic and legal situation in Poland (most particularly the tax and import/export regulations) still did not allow for anything even vaguely resembling healthy business operations. While waiting for a better economic climate, I started MASSIVE MANAGEMENT, which within the last few years has become one of the strongest Polish management firms responsible for signing and developing Polish (and not only) acts as well as representing and licensing them abroad. VADER - now on Metal Blade - have obviously been my biggest success, but they are not the only ones. I was responsible for discovering and promoting the youngest band in the history of death metal DECAPITATED - at the time of recording their debut album for Earache their age average was 16! Other bands I have represented include LOST SOUL (Osmose), DIES IRAE (Metal Blade), NEPHASTH (Mighty Music), SCEPTIC (Last Episode), DEVILYN (Listenable, Plastic Head), HATE (WW3, Candlelight) and many others. 2001 marked the long-awaited change in the economic situation - while Poland was preparing to gearing towards EU accession I started EMPIRE RECORDS. Together with Plastic Head we released Massive's first truly international albums from HORRORSCOPE, ESQARIAL, BELFEGOR, CONTEMPT, PARRICIDE, and EXCOMMUNION. In the States I was initially represented by Pavement Music/Crash Music; later the licensing was taken over by WW3. Although only six titles were released in 2002, it was the time of learning and gaining experience. In 2003 I am planning to build a new distribution network, seek new and trusted partners, and develop the label's activities. As we speak, the new headquarters are under construction. We are also on the lookout for a number of employees, including several foreign agents. I realize that EMPIRE RECORDS is still just one of the many small labels in the great metal industry, but our strength is in the long-proven commitment and the desire to do things right, even if this takes time. At this time I can only hope that bearing this in mind you will trust EMPIRE RECORDS and its bands. For once Empire is not evil, but do not count that its bands will not strike back. Mariusz Kmio Label Manager For more info, go to their website: http://www.empire-records.com.pl/eng/about_us.html

A Face For Radio A Face For Radio is one of few bands that is free to do whatever it wants to and get away with it. They don't just stick to one particular style, whether it be hardcore, punk, metal, ect. They each have their own way of taking the styles they like and forming it into something more exciting. A Face For Radio started around the end of October 2002 in Vienna WV. Jeff and Mike[attending PHS, Jeff a sophomore, Mike a Junior]had already been members of another band but things were going down hill and not much was happening with that. So the two joined up with fellow friend/Senior, Ryan Fields. The three would jam from time to time whenever they found time or didn't feel like driving around anymore causing trouble and whatnot. Eventually they decided to ask a friend of theirs, Travis Graham who was also a sophomore. So finally they had gotten a group together they could make music with, but "what do we play?" they asked themselves. It started off with more old-school sounding punk songs but then evolved to a little more Hardcore/Metal sounding, with the usual playing of their old punk songs which seems to be on high request at shows. As time goes on the music will change into soemthing bigger and better but as of right now they are all enjoying themselves and having the time of their life. So check them out sometime! They are great LIVE! . Ryan Fields.Vocals . .JP Fields.Vocals. . Mike Savage.Guitar.Vocals . .Brad Norman.Bass. . Jeff King.Drums . Past Shows August 17 2003 At Goodfest With Flinch, Fleming, Stolen Toothpaste, My Kind, Fidelity, Future Me, Mental Pain, Catch 22 August 16 2003 At Ca House Band Blast With a bunch of bands [free] July 05 2003 At Room 21 With In search of History, Notes for a Better Sunset Sign Guestbook Read Guestbook Latest Video Posted: 11/20/03 Copyright ©2002-2003 Jeff King. http://www.redhelix.com/affr/bio

It's certainly on my xmas list :)

Here you will find information on Parliament, Funkadelic, George Clinton, the P.Funk All-Stars, Bootsy Collins . . .more than enough info to start gettin' funked up! http://www.duke.edu/~tmc/pfunk.html

Yes, but she suuuuree is pretty. lol.

New Artist – Dawn Kinnard Dawn Kinnard is beginning to pick up notices for her unique voice and new demo, here in the states and across Europe. For more information: http://www.dawnkinnard.com/ Dawn Kinnard Interview/Review my face is dirty from the wind, let it tell where I've been my body aches for more, I don't know why... - "Wires in the Sky" Dawn Kinnard, a native of rural State College, PA and burgeoning singer/songwriter, wrote "Wires in the Sky" about one lonesome, glorious day she spent speeding across Texas on her beloved Harley-Davidson motorcycle. "I decided to take a trip down to Austin to check out the music scene down there", Dawn told me recently during a brief phone conversation. "So I put a tent on the back of my motorcycle and just sort of camped along the way. One day I was riding across Texas, and it was just so beautiful and peaceful -- the 'wires in the sky' line just came to me." The solitary highway motif is typical of Kinnard's well-written, often poetic songs, which are permeated with themes of broken hearts and a search for the American Dream. "Wires in the Sky" is one of several excellent songs on Kinnard's stunning debut CD, an 8-track disc she recently released independently. Raised the daughter of a Baptist preacher, Kinnard was a regular in the church choir, but picked up a guitar at age 16 and soon after was worshipping at a slightly different alter. "I had a pretty big obsession with Elvis for a few years -- that's pretty much all I listened to for a while", recalled Kinnard of her later teen years. Shortly thereafter, she began penning her own tunes that paid tribute to the American roots music of which she had become so fond. Combining her newfound songwriting skills with her gospel vocal training, Kinnard began to establish her talent singing for the alt.country band Dusk to Dawn in and around State College. More recently, Kinnard has begun to perform as a solo artist, playing weekly gigs in State College and occasionally branching out to nearby areas, opening for Songoose.com favorites Kathleen Edwards and Alexi Murdoch. Feeling confident and believing in what she had to say, Kinnard sold her beloved bike to finance an independent album. When we spoke, she talked about how hard and sad it was to part with said Harley, (she even once compared it to having a dog die). "I was sad, but [making a record] was something I've been wanting to do for a long, long time, so I feel pretty good about it." Cash in pocket, Kinnard hired an engineer, rented the necessary equipment, and was lucky enough to secure her father's church to record the album. "We had one month, but it was really laid back, with little time constraints, which was great," she told me about the choice location. "The acoustics inside the church are really good, so that worked out well too." And, although Kinnard herself calls the final product "real raw", producer Mason Neely manages to put together arrangements that sound damn close to big budget. Must have been those acoustics. The eponymous 8-song disc ("We were only going to make a 5 song EP and we just got a little carried away, stayed up all night and ended up with 8 instead...") features 7 strong originals and an ethereal, atmospheric cover of "Will the Circle be Unbroken". The aforementioned "Wires in the Sky" is easily the disc's strongest track -- Kinnard's desperation melds beautifully with the lonesome-highway lyrics and rolling instrumentation (accentuated by a perfectly placed banjo interlude from Tyne Repogle), but each song contributes to the overall quality of this disc. Mostly mellow, smoldering numbers, Kinnard's beautiful voice takes center stage on most cuts, effortlessly channeling a gritty but vulnerable wail that'd make Lucinda proud. The bouncy, catchy "Like I Said" prevents any predictability or banality, complete with requisite hand claps. Try to not tap along - I dare you. At this point, Kinnard has at least a full disc's worth of demos (aside from these 7 strong tunes!), but is taking to the road to gain some support before even thinking about getting back into the studio. So get out and support her -- Dawn Kinnard is a immensely talented singer and songwriter, with that rare descriptive gift that only the best writers have to offer. Not only that, she possesses a rare command of her material that demands the listeners attention. Although she is just starting out, this is the type of artist music lovers should be supporting -- so check her out…

For downloads, etc: http://www.patortman.com/

Interview: Beyonce Talks About Movies by NEKESA MUMBI MOODY NEW YORK (AP) _ In her new movie, ``The Fighting Temptations,'' Beyonce Knowles plays a singer _ but that's where the similarities between the superstar and her character end. Beyonce's ``Lily'' is a single woman with a young son and questionable morals. When filmmakers learned that Beyonce _ who has a sexy yet sugary-sweet persona _ was interested in playing the role, she says they attempted to change the character to match her wholesome image. ``I was like no, it makes the character more interesting. I'm becoming an actress, so the more depth to the character, the better,'' she said during a recent interview backstage at Radio City Music Hall. Although Knowles made her movie debut as Foxxy Cleopatra in last year's blockbuster, ``Austin Powers in Goldmember,'' she's known more for musical smash hits like ``Crazy In Love.'' Now she wants to be just as big as an actress. ``The Fighting Temptations'' could be her vehicle _ the family friendly comedy opening Friday romantically pairs her with Oscar winner Cuba Gooding Jr. AP: How did you come into this role? Beyonce: I told my agent the next movie I did, I wanted to make sure that it was something that was real, it was a realistic character, and I wanted to make sure that I could show a little more of my range and add more dramatic scenes. AP: How has your acting progressed from the MTV special ``Carmen: a Hip-Hopera'' to now? Beyonce: Experience. Every time I do a movie, it feels just easier, and I get more comfortable. I had an emotional scene (in ``Temptations'') and I had to cry, I had to take certain things in my life and make the issues that Lily went through the same as mine. AP: What are some of your favorite movies? Beyonce: My mom has introduced me to ``Sparkle'' and ``Mahogany,'' and ``Cooley High.'' I like those. AP: Are you a movie buff? Beyonce: No, I'm not. I don't get a chance to go to the movies, and I work so much I don't have a lot of time. I know it's very strange, but I don't listen to a lot of different music either. AP: Who are some of the actresses you draw inspiration from? Beyonce: I like musicals a lot; I like triple threats. I like Barbra Streisand, I like Diana Ross, I like all the old movies, where the women had to be able to sing and dance and act. Music is such a huge part of me. ... (But) I eventually want to do something darker. I want to play a woman that's a little more vulnerable, like a suspense thriller or something. I want to play like a crazy stalker ... like a ``Fatal Attraction'' or something. I also like action movies. I would love to play an action hero. AP: If you were in ``Chicago,'' what role would you have wanted? Beyonce: I got chills when I saw Catherine (Zeta-Jones) and Renee (Zwellwegger). Probably Renee (laughs). But both of them were great. AP: How was it working with an Oscar winner on your second movie? Beyonce: Naturally I was nervous. (But Gooding) has so much energy, and when you first meet him, you kind of lose your nervousness, because he makes everyone feel so comfortable. He's just one of those people who makes everyone laugh, and he's silly and he's always breakdancing or be-bopping or doing something that made me feel more secure and more comfortable. I remember talking to him about how, before he does a movie, he thinks about the smallest details, from the way the hair should be cut from the shoes ... for ``Jerry McGuire,'' he walked around like that character for a month, to see how people reacted to that. AP: Would you put on weight for a role? Beyonce: Yes. Actually, I put on a couple of pounds (for ``Temptations'') because when I did the test, my hair was straightened, it was blonde, and they said that I didn't look like a mother, I looked like a singer. So I wore my hair (twisted) ... and I wore big dresses and I was heavier than I am now, a lot heavier. AP: Is there a certain actress whose career you would like to have? Beyonce: As far as their longevity and as far as them being respected, probably Barbra Streisand, because I think she's one of the best singers and I think she did an incredible job in all the movies she acted in, and she's had a long career. ... (Also) I love and respect Halle (Berry). AP: Could you ever see yourself doing an erotic love scene like Halle's in ``Monster's Ball''? Beyonce: Well, when I do a kissing scene, (laughs) I feel so uncomfortable! I know right now I definitely couldn't because I'm literally embarrassed by the kissing scene. AP: How much of a departure do you think you could do from your true self? Would you be worried about your image? Beyonce: If there's something that's interesting, I don't care. If I'm trying to be an actress, I'm trying to be an actress; I'm not Beyonce when I'm acting. I'm whoever that character is, and that's the only way I can be taken seriously. There's certainly things right now that I would just not feel comfortable doing. It has nothing to do with my singing career, it's just if I'm uncomfortable doing it as a person. AP: Do you want to transition more into acting? Beyonce: Probably when I have kids and get married, I'll wanna lean more into acting just because of the stability, and I want to do more movies. Every year I want to do a movie. I never wanna not put out an album, but I feel like the movie industry is a lot easier; the scheduling ... and the fact that you can have a bad movie and still recover. AP: How would you rate yourself as an actress now? Beyonce. I've only done two movies and I'm 21, and I've got a long way to go, but I think I did great at playing Lily. Copyright © 2003 Obscure Magazine, All Rights Reserved