Linkin Park aren't the only rockers adding some guitar-crunching flair to the upcoming "Transformers" sequel, "Transformers: Revenge of the Fallen." The track listing for the upcoming set will include new and previously released music from bands like Green Day, The Fray, Nickelback, and The All-American Rejects.
Green Day contributes "21 Guns" from their just-released "21st Century Breakdown," while Nickelback offers "Burn it to the Ground" from last year's "Dark Horse."
The Used contribute their cover of Talking Heads' "Burning Down the House," while The All-American Rejects feature on "Real World" from "When The World Comes Down."
Previously unreleased music include "Let it Go" from up-and-coming band Cavo and a "Transformers: The Fallen" remix from Cheap Trick.
The soundtrack, which features the hit single "New Divide" from Linkin Park, hits stores June 23rd. The movie hits theaters on June 24th. The score, which also features contributions from Linkin Park in collaboration with composer Hans Zimmer, will also be released on the 23rd.
"Transformers: Revenge of the Fallen" Track Listing
1. Linkin Park - New Divide 2. Green Day - 21 Guns 3. Cavo - Let It Go 4. Taking Back Sunday - Capital M-E 5. The Fray - Never Say Never 6. Nickelback - Burn It To The Ground 7. The Used - Burning Down The House 8. Theory of a Deadman - Not Meant To Be 9. The All-American Rejects - Real World 10. Hoobastank - I Don't Think I Love You 11. Staind - This Is It 12. Avenged Sevenfold - Almost Easy 13. Cheap Trick - Transformers: The Fallen Remix
http://www.allheadlinenews.com/articles/7015439125#ixzz0I3WC4oVJ&D
miércoles, 10 de junio de 2009
lunes, 8 de junio de 2009
U2 New Album No Line On the Horizon
In the 1996 documentary Tantrums and Tiaras, Elton John is shown detailing his mind-boggling earnings. "What would you do if people stopped buying your albums and coming to your shows?" asks a voice off camera. John looks completely baffled, as if the voice has just asked him if he's planning to grow gills and go and live under the sea. "That's not going to happen," he frowns. "It just isn't."
It's a reminder that there exists a rarefied, clubbable world beyond mere rock stardom. Its membership criteria make the Garrick look like a Pitcher and Piano: so stringent that U2, formed in 1976, are probably the most recent addition to its ranks. And life there brings its own artistic challenges. What do you do when your commercial success has been so consistent for so long that you know for a fact there's no end to it? The obvious answer is whatever you want, but as U2 discovered with the release of Pop, it doesn't work quite like that. Their 1997 album was a well-meaning but clumsy stab at continued contemporaneity: like David Bowie going drum'n'bass, the co-production credit for minor-league trip-hopper Howie B seems the perfect symbol of a major artist trying a bit too hard in the 90s. Reeling from the shock of an album that was only certified platinum once in America, U2 clearly discovered that the urge not merely to be successful, but to be more successful than everybody else - the urge that had powered them past infinitely hipper, more acclaimed post-punk contemporaries into the realm of Elton John in the first place - was still as strong as ever. Cue the manhandling of minor-league trip-hoppers from the producer's chair and the reassuring sound and sales figures of 2000's All That You Can't Leave Behind and 2004's How to Dismantle an Atomic Bomb.
And yet simply being the biggest clearly isn't enough for U2 either: the saga behind No Line On the Horizon suggests a band keen to push beyond their comfort zone again. Sessions with Rick Rubin were abandoned. Recording took place in Morocco. Brian Eno and Daniel Lanois have been elevated from co-producers to co-writers. You can certainly hear the duo's influence in the charming opacity of the album's sound: the drones of feedback and Can-like drum clatter of the opening title track; the lustrous collage of sounds that make up Fez – Being Born; the appearance of brass, not in the form of a blaring horn section but a mournful French horn, at the climax of Unknown Caller.
All are great moments, but the reality is more complicated than a return to the self-assured experimentation of Achtung Baby and Zooropa, as evidenced by single Get On Your Boots, which sets its cap at Subterranean Homesick Blues but winds up duking it out with We Didn't Start the Fire for the title of Most Excruciating Rapid Fire List Song Ever Written. Suffice to say that an august US rock mag approvingly used the adjective "zany" to describe it, which pretty much sums up its abject ghastliness. Its presence here isn't the only misjudgment. Moment of Surrender doesn't have enough of a tune to support the full seven-minute gospel treatment. Stand Up Comedy features self-deprecating verses, the lyrical equivalent of Bono giving you a chummy, "Ooh-aren't-I-awful?" wink: "Stand up to rock stars ... beware of small men with big ideas." You can understand the impulse to pre-empt criticism, but allied to a watery tune, the overall effect is to make U2 sound tentative and unconvinced, two things surely no one wants U2 to be. Far better to embrace the very thing they're most often criticised for, and seem most keen to shy away from – the unironic, lighters-out, "I was born to sing for you" earnestness this album offers only on Magnificent. The title of I'll Go Crazy If I Don't Go Crazy Tonight, meanwhile, reveals rather more about the song than you suspect is intended, with its self-conscious tone of You Don't Have to Be Mad to Work Here But It Helps.
A person of a certain disposition might feel the will to live seeping from them at the very thought of a U2 song called Cedars of Lebanon, but it turns out to be one of the album's biggest successes: a beautiful, downbeat coda to a confused and confusing album, one that can't decide whether it's ironic or sincere, experimental or straight-forward, and instead attempts to be all things to all people, with inevitably mixed results. Listening to it, you get the feeling that U2's belief in themselves as boundary-pushers was shaken, perhaps irrevocably, by Pop's relative failure. Maybe No Line On the Horizon's guaranteed multi-platinum success will give them more confidence next time round. That's one of the privileges of life in the rarefied world beyond rock stardom: you always get another chance.
It's a reminder that there exists a rarefied, clubbable world beyond mere rock stardom. Its membership criteria make the Garrick look like a Pitcher and Piano: so stringent that U2, formed in 1976, are probably the most recent addition to its ranks. And life there brings its own artistic challenges. What do you do when your commercial success has been so consistent for so long that you know for a fact there's no end to it? The obvious answer is whatever you want, but as U2 discovered with the release of Pop, it doesn't work quite like that. Their 1997 album was a well-meaning but clumsy stab at continued contemporaneity: like David Bowie going drum'n'bass, the co-production credit for minor-league trip-hopper Howie B seems the perfect symbol of a major artist trying a bit too hard in the 90s. Reeling from the shock of an album that was only certified platinum once in America, U2 clearly discovered that the urge not merely to be successful, but to be more successful than everybody else - the urge that had powered them past infinitely hipper, more acclaimed post-punk contemporaries into the realm of Elton John in the first place - was still as strong as ever. Cue the manhandling of minor-league trip-hoppers from the producer's chair and the reassuring sound and sales figures of 2000's All That You Can't Leave Behind and 2004's How to Dismantle an Atomic Bomb.
And yet simply being the biggest clearly isn't enough for U2 either: the saga behind No Line On the Horizon suggests a band keen to push beyond their comfort zone again. Sessions with Rick Rubin were abandoned. Recording took place in Morocco. Brian Eno and Daniel Lanois have been elevated from co-producers to co-writers. You can certainly hear the duo's influence in the charming opacity of the album's sound: the drones of feedback and Can-like drum clatter of the opening title track; the lustrous collage of sounds that make up Fez – Being Born; the appearance of brass, not in the form of a blaring horn section but a mournful French horn, at the climax of Unknown Caller.
All are great moments, but the reality is more complicated than a return to the self-assured experimentation of Achtung Baby and Zooropa, as evidenced by single Get On Your Boots, which sets its cap at Subterranean Homesick Blues but winds up duking it out with We Didn't Start the Fire for the title of Most Excruciating Rapid Fire List Song Ever Written. Suffice to say that an august US rock mag approvingly used the adjective "zany" to describe it, which pretty much sums up its abject ghastliness. Its presence here isn't the only misjudgment. Moment of Surrender doesn't have enough of a tune to support the full seven-minute gospel treatment. Stand Up Comedy features self-deprecating verses, the lyrical equivalent of Bono giving you a chummy, "Ooh-aren't-I-awful?" wink: "Stand up to rock stars ... beware of small men with big ideas." You can understand the impulse to pre-empt criticism, but allied to a watery tune, the overall effect is to make U2 sound tentative and unconvinced, two things surely no one wants U2 to be. Far better to embrace the very thing they're most often criticised for, and seem most keen to shy away from – the unironic, lighters-out, "I was born to sing for you" earnestness this album offers only on Magnificent. The title of I'll Go Crazy If I Don't Go Crazy Tonight, meanwhile, reveals rather more about the song than you suspect is intended, with its self-conscious tone of You Don't Have to Be Mad to Work Here But It Helps.
A person of a certain disposition might feel the will to live seeping from them at the very thought of a U2 song called Cedars of Lebanon, but it turns out to be one of the album's biggest successes: a beautiful, downbeat coda to a confused and confusing album, one that can't decide whether it's ironic or sincere, experimental or straight-forward, and instead attempts to be all things to all people, with inevitably mixed results. Listening to it, you get the feeling that U2's belief in themselves as boundary-pushers was shaken, perhaps irrevocably, by Pop's relative failure. Maybe No Line On the Horizon's guaranteed multi-platinum success will give them more confidence next time round. That's one of the privileges of life in the rarefied world beyond rock stardom: you always get another chance.
viernes, 5 de junio de 2009
Nickelback Dark Horse
Give ‘em credit for making it to album six, despite whatever slings and arrows they’ve suffered from critics, music fans, concertgoers, etc.—Nickelback has made it to their sixth record on a post-Grunge formula that’s lasted several years longer than the genre it so muddily apes. Produced by Mutt Lang, expect the expected (a Wal-Mart-only exclusive track), expect the “man, rockin’ and rollin’ is hard” song (“Never Be Alone”), and expect subtlety (“Something in Your Mouth”).
Kelly Clarkson in Australia
American Idol winner Kelly Clarkson visited with Aussie chat show host Rove yesterday. The pop singer is currently in Australia for a promotional tour for her new album, “All I Ever Wanted.”
She starts the party off right by attacking a piñata they have on set. Are piñatas different in Oz? We put candy in them and I didn’t see the goodies spill out after she smashed his head off!
She discusses why she enjoys writing sad songs over happy songs, her Rescue Ranch in Texas, and all her pets.
During the “final five” portion of the show she confesses the strangest place she’s been nude, what she would be doing had she not won American Idol, games bored teenagers in Texas play, and she confirms she is not on Twitter.
To close up the show, she sang her latest single “I Do Not Hook Up.”
She starts the party off right by attacking a piñata they have on set. Are piñatas different in Oz? We put candy in them and I didn’t see the goodies spill out after she smashed his head off!
She discusses why she enjoys writing sad songs over happy songs, her Rescue Ranch in Texas, and all her pets.
During the “final five” portion of the show she confesses the strangest place she’s been nude, what she would be doing had she not won American Idol, games bored teenagers in Texas play, and she confirms she is not on Twitter.
To close up the show, she sang her latest single “I Do Not Hook Up.”
jueves, 4 de junio de 2009
Green Day Carson Daly, Articles and Photos
Green Day recorded their appearance today for Last Call with Carson Daly in Los Angeles. They did an interview, and then played Know Your Enemy, Murder City, East Jesus Nowhere, 21 Guns, Christian's Inferno, 21st Century Breakdown, The Static Age. People attending the show were then told a second band would be performing, and after a wait they brought out all the Foxboro Hot Tubs equipment and the guys came out and performed Mother Mary and Stop Drop and Roll. The performance is expected to air all next week, starting Tuesday night. I'm really hoping they decide to show some of the Foxboro Stuff. We need some good quality video of them already. Some people from the forum were at the taping, and you can read a few of the updates on the forum.
I've added a lot of new recent magazines to the articles page page, including the new NME Magazine and Guitar World with Billie Joe on the covers. Thank you much to everyone on the forum for taking the time to scan and upload the articles. I'm still looking for scans of the recent Blunt magazine the guys were on.
The Picture Vault was updated today with pictures from the New York shows and the pictures from the LA Hot Topic Meet & Greet. There are a few pictures of fans there, so if you attended, check them out to see if you got your picture taken.
I've added a lot of new recent magazines to the articles page page, including the new NME Magazine and Guitar World with Billie Joe on the covers. Thank you much to everyone on the forum for taking the time to scan and upload the articles. I'm still looking for scans of the recent Blunt magazine the guys were on.
The Picture Vault was updated today with pictures from the New York shows and the pictures from the LA Hot Topic Meet & Greet. There are a few pictures of fans there, so if you attended, check them out to see if you got your picture taken.
Bongidae! First Annual Silverback Music Festival
Shot live in August, 2005, in Hollywood, California, as a creation of the Silverback music company, the first annual Silverback Music Festival united legendary performers from the genres of reggae, rock 'n' roll and funk with several up-and-coming acts, for a visceral concert. Those performances can now be enjoyed again and again in the home release, Bongidae! First Annual Silverback Music Festival. This issue features twenty-two tracks from seven electrifying bands: Mishka performs "Love and Devotion" and "Homegrown"; Leo Nocentelli performs "Fiyo on the Bayo" and "Cissy Strut"; Dubcat performs "Listen to DJs" and "The Right Road"; Half Pint performs "Cost of Living," "Level the Vibes" and "Winsome"; Fishbone performs "Sunless Saturday," "Cheyenne Star Forever Moore," "Suffering," and "Party at Ground Zero"; Barrington Levy performs "Under MI Sensi," "She's Mine," "Black Roses" and "Murderer"; and Slightly Stoopid rounds out the set with five numbers: "Everything You Need," "Somebody," "Mexico/Doctor Doctor" (duet with Half Pint), "Heavy A," and "Ain't Gotta Lotta Money." ~ Nathan Southern, All Movie Guide
miércoles, 3 de junio de 2009
Breaking World Records in Tamworth, Australia
Australia is known for plenty of things – iconic architecture, unique wildlife among them – but few know about the record-breaking events that take place at the end of every January in a small New South Wales town. And the record they are trying to break puts a smile on my face every time I hear about it: the world’s largest country line dance competition.
This unusual feat takes place during the Country Music Festival in Tamworth, Australia. Tamworth is considered one of the world’s country music Australia capitals – you wouldn’t overlook such a fact after seeing the massive golden guitar that announces your arrival into Tamworth. The city has hosted this event since the 1960s – it started out as just a country music concert – and in 2002 the country line dance was at its largest, including 6,744 participants. During the festival, the population nearly doubles in size – from a normal 56 thousand to over 100 thousand – as visitors come from all over the world to take part in the excitement.
Much of the excitement takes place along the main street of Tamworth. It’s packed from one end to the other with endless miscellany. If country line dancing is not your thing, fear not. You can explore a number of other “must-see” experiences, such as: tents lining the street filled with live snakes, which are poked and prodded to the cheers of the audience; a fully-fledged rodeo program, complete with several competitions and awards ceremony; kitschy arts and crafts venues, with many handmade items; and live music at any one of the bustling pubs.
Tamworth is also known as the city of lights, not because it has a glittering tower but because it was the first city in the southern hemisphere to use electric street signs. Besides the festival, Tamworth has a few noteworthy tourist attractions. Oxley’s Lookout is a scenic viewpoint perfect to spend the evening watching a sunset. The regional botanic gardens are worth a look, and don’t miss taking a quick day trip to see the old mill town of Nundle .
I find the festival and Tamworth itself such a refreshing experience of rural Australian culture. The locals are extremely friendly and the whole town has this exceptional buzz that even if you hate country music, you can’t help but enjoy yourself. The pubs are crazy: they stay full from lunchtime until late into the night and they often host quizzes and competitions throughout the day where you can win free drinks and other prizes. Just be sure to pace yourself – alcohol can dehydrate you quite quickly in the heat of the Australian sun.
Tamworth is approximately a 260 mile drive north of Sydney but you can also fly into directly into Tamworth on Qantas or take a Countrylink train. Hotels book up quickly during the festival so be sure to book well ahead of time – in some cases bookings are full a year in advance. Many regulars camp out at a massive caravan site arranged on the edge of town just for the event itself; as January is the peak of summer warmth, this might be a good alternative option if you want to really get a genuine feel for this event.
This unusual feat takes place during the Country Music Festival in Tamworth, Australia. Tamworth is considered one of the world’s country music Australia capitals – you wouldn’t overlook such a fact after seeing the massive golden guitar that announces your arrival into Tamworth. The city has hosted this event since the 1960s – it started out as just a country music concert – and in 2002 the country line dance was at its largest, including 6,744 participants. During the festival, the population nearly doubles in size – from a normal 56 thousand to over 100 thousand – as visitors come from all over the world to take part in the excitement.
Much of the excitement takes place along the main street of Tamworth. It’s packed from one end to the other with endless miscellany. If country line dancing is not your thing, fear not. You can explore a number of other “must-see” experiences, such as: tents lining the street filled with live snakes, which are poked and prodded to the cheers of the audience; a fully-fledged rodeo program, complete with several competitions and awards ceremony; kitschy arts and crafts venues, with many handmade items; and live music at any one of the bustling pubs.
Tamworth is also known as the city of lights, not because it has a glittering tower but because it was the first city in the southern hemisphere to use electric street signs. Besides the festival, Tamworth has a few noteworthy tourist attractions. Oxley’s Lookout is a scenic viewpoint perfect to spend the evening watching a sunset. The regional botanic gardens are worth a look, and don’t miss taking a quick day trip to see the old mill town of Nundle .
I find the festival and Tamworth itself such a refreshing experience of rural Australian culture. The locals are extremely friendly and the whole town has this exceptional buzz that even if you hate country music, you can’t help but enjoy yourself. The pubs are crazy: they stay full from lunchtime until late into the night and they often host quizzes and competitions throughout the day where you can win free drinks and other prizes. Just be sure to pace yourself – alcohol can dehydrate you quite quickly in the heat of the Australian sun.
Tamworth is approximately a 260 mile drive north of Sydney but you can also fly into directly into Tamworth on Qantas or take a Countrylink train. Hotels book up quickly during the festival so be sure to book well ahead of time – in some cases bookings are full a year in advance. Many regulars camp out at a massive caravan site arranged on the edge of town just for the event itself; as January is the peak of summer warmth, this might be a good alternative option if you want to really get a genuine feel for this event.
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