Download BB King mp3

Artist: BB King: mp3 download    Genre(s):  Blues     Discography:      Why I sing the Blues    Year: 1998    Tracks: 10 Universally hailed as the reigning dino Paul Crocetti Luther King of the blues, the legendary B.B. King is without a doubtfulness the single to the highest degree crucial electrical guitarist of the last half century. A contemporary blues guitar solo without at least a mates of recognisable King-inspired bent notes is all just out of the question, and he stiff a supremely confident isaac Merrit Singer subject of wringing every nicety from any lyric (and he's tried and true his hand at many an improbable song, anybody retrieve his version of "Love Me Tender?"). Yet B.B. King remains an per se humble superstar, an dead accessible icon world Health Organization welcomes visitors into his dressing elbow room with reticent graciousness. Between 1951 and 1985, King toothed an awful 74 entries on Billboard's R&B charts, and he was one of the few fully fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). The seeds of King's long-suffering talent were sown rich in the blues-rich Mississippi Delta. That's where Riley B. King was sired, in Itta Bena, to be exact. By no means was his puerility light. Young King was shuttled 'tween his mother's home base and his grandmother's residence. The youth assign in recollective years on the job as a sharecropper and devoutly american ginseng the Lord's praises at church building ahead moving to Indianola -- some other town placed in the very spirit of the Delta -- in 1943. Rural area and gospel music left wing an unerasable impression on King's musical outlook as he matured, along with the styles of vapours greats T-Bone Walker and Lonnie Johnson and jazz geniuses Charlie Christian and Django Reinhardt. In 1946, B.B. King mark off for Memphis to look up his first cousin, rough-edged rural area blues guitar player Bukka White. For ten priceless months, White taught his eager thomas Young congener the finer points of playing blues guitar. After reversive in brief to Indianola and the sharecropper's interminable struggle with his married woman Martha, King arrived in Memphis once once again in later 1948. This time, he stuck around for a piece. Riley B King was shortly broadcasting his music live via Memphis wireless station WDIA, a relative frequency that had only latterly switched to a pioneering all-black arrange. Local club owners pet that their attractions as well held mastered radio gigs so they could plug their nightly appearances on the strain. When WDIA DJ Maurice "Hot Rod" Hulbert exited his airwave shift, King took over his record-spinning duties. At number 1 labeled "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the zephyr, King's on air palm became the "Beale Street Blues Boy," later abbreviated to Blues Boy and then a far snappier B.B. 1949 was a four-star breakthrough year for King. He cut his first quaternity tracks for Jim Bulleit's Bullet Records (including a figure entitled "Leave out Martha King" after his married woman), so signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King issue a superfluity of sides in Memphis over the next pair of old age for RPM, many of them produced by a congener newcomer named Sam Phillips (whose Sun Records was still a remote dream at that dot in time). Phillips was one by one producing sides for both the Biharis and Chess; his stable likewise included Howlin' Wolf, Rosco Gordon, and colleague WDIA personality Rufus Thomas. The Biharis as well recorded some of King's early output themselves, erection portable transcription equipment wherever they could locate a suited facility. King's number 1 national R&B chart-topper in 1951, "Three O'Clock Blues" (antecedently waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing piano player Johnny Ace. When King rack up the road to promote "3 O'Clock Blues," he handed the grouping, known as the Beale Streeters, over to Ace. It was during this geological era that King showtime named his love guitar "Lucille." Seems that while he was playing a joint in a small Arkansas town called Twist, fistfight stony-broke out betwixt 2 green-eyed suitors over a peeress. The brawlers knocked over a kerosene-filled drivel pailful that was warming the spot, setting the room on fire. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to call up it, evasion the flames and almost losing his life history. When the smoke had exonerated, King conditioned that the gentlewoman wHO had divine such red cacoethes was named Lucille. Plenty of Lucilles suffer passed through his workforce since; Gibson has even marketed a B.B.-approved guitar fashion model under the constitute. The 1950s byword King establish himself as a perennially formidable hitmaking force in the R&B field of honor. Recording largely in L.A. (the WDIA air dislodge became inconceivable to keep by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 graph items during that musically riotous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats wish a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blue devils lay "Sneakin' Around," and "Tenner Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (showtime cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the tenner progressed, influencing a legion of up-and-coming axemen crosswise the nation. In 1960, King's perfervid bilateral revival meeting of Joe Turner's "Sweet Sixteen" became another mammoth marketer, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a principal like King perpetually (and he crataegus oxycantha sustain been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and earlier foresighted, Fats Domino. In November of 1964, the guitarist cut his germinal Live at the Regal album at the fabled Chicago field and hullabaloo nigh leaped out of the grooves. That same class, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Gainful the Cost to Be the Boss" two age later were Top Ten R&B entries, and the socially charged and funk-tinged "Wherefore I Sing the Blues" just lost achieving the same position in 1969. All-embracing stardom in conclusion arrived in 1969 for the worth guitarist, when he crashed the mainstream cognizance in a openhanded path with a stately, violin-drenched minor key discourse of Roy Hawkins' "The Thrill Is Gone" that was quite a deviation from the concise horn-powered patronage King had customarily employed. At concluding, pop audiences were convinced that they should contract to know King better: not only was the lead a number-three R&B smash, it domed to the upper reaches of the pop lists as substantially. King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiomatic expression. In 1973, he ventured to Philadelphia to record a couple of immense sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same satiny regular recurrence section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old age group Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Making love Me Tender, an album that attempted to rein in the Nashville land sound, was an artistic catastrophe. Although his concerts were consistently as comforting as anyone in the field (and he remains a road warrior of singular resiliency world Health Organization used to gig an mean of ccc nights a year), King tempered his studio activities more or less. Still, his 1993 MCA disc Megrims Summit was a come back to form, as King duetted with his peers (John the Evangelist Lee Hooker, Etta James, Fulson, Koko Taylor) on a programme of standards. Other notable releases include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Horseback riding With the King, a collaborationism with Eric Clapton. King historied his eightieth birthday in 2005 with the star-studded album 80. King's immediately recognizable guitar style, utilizing a trademark shake that approximates the constriction reasoned shown him by cousin-german Bukka White all those decades ago, has long put him apart from his coevals. Add his patented pleading vocal fashion and you have the most influential and modern bluesman of the postwar period. There bum be short dubiousness that B.B. King will reign as the genre's unquestioned billie Jean King (and goodwill ambassador) for as long as he lives.

Download Tower Of Power

Artist: Tower Of Power: mp3 download    Genre(s):  Rock funk Other R&B: Soul Jazz: Funk Dance     Discography:      Oakland Zone    Year: 2003    Tracks: 15      The Very Best of Tower of Power: The Warner Years    Year: 2001    Tracks: 1      Soul Vaccination: Live    Year: 1999    Tracks: 15      Rhythm and Business    Year: 1997    Tracks: 13      Direct Plus    Year: 1997    Tracks: 10      Souled Out    Year: 1995    Tracks: 12      Urban Renewal    Year: 1993    Tracks: 11      T.O.P.    Year: 1993    Tracks: 14      Power    Year: 1993    Tracks: 9      In the Slot    Year: 1993    Tracks: 12      Back on the Streets    Year: 1993    Tracks: 9      Ain't Nothin' Stoppin' Us Now    Year: 1993    Tracks: 10      Monster on a Leash    Year: 1991    Tracks: 11      We Came to Play    Year: 1990    Tracks: 9      Live and in Living Color    Year: 1990    Tracks: 5      Direct    Year: 1990    Tracks: 6      Back To Oakland    Year: 1974    Tracks: 11      Tower Of Power    Year: 1973    Tracks: 10      Bump City    Year: 1972    Tracks: 9      East Bay Grease    Year: 1970    Tracks: 6      Havin Fun    Year:     Tracks: 10 The renowned horn-driven funk getup Tower of Power has been issuing albums and touring the creation steadily since the early '70s, in addition to patronage up multitudinous other musicians. The group's leader since the beginning has always been tenor saxophonist Emilio Castillo, wHO was born in Detroit, merely opted to pursue his musical dreams in Oakland, CA. It was in Oakland that Castillo put together a chemical group called the Motowns, which as its key suggested, specialized in '60s-era soul. Castillo teamed up with a barytone sax player (and Motowns fan) Stephen "Doc" Kupka, and before long the Motowns had transformed into Tower of Power (one of the first tunes the pair penned together was "You're Still a Young Man," which would eventually go on to be one of the TOP's signature compositions). Tower of Power played regularly in the Bay Area end-to-end the late '60s, as its lineup oftentimes vainglorious up to x members, including such other mainstays as Greg Adams on trumpet and vocals and Rocco Prestia on sea bass. By 1970, the funk getup had inked a recording contract with Bill Graham's San Francisco Records, resulting in the group's debut the same year, East Bay Grease, which failed to make an effect on the charts as TOP was still trying to regain their own sound. Merely it all came in concert cursorily for the chemical group, as 1972's Bump City would touch off a string of authoritative pip releases, including 1973's self-titled release (which included another one of the group's most enduring tunes, "What Is Hip?"), 1974's Back to Oakland, plus 1975's Urban Renewal and In the Slot. While Tower of Power remained a must-see live act, the quality of their subsequent records became erratic, resulting in some admirable releases (Ain't Nothin' Stoppin' Us Now, Live and in Living Color) and various uninspired albums that ar best skipped all over (We Came to Play, Back on the Streets). Despite the dip in the quality of their albums, Tower of Power remained a a good deal desired support group for some of pop/rock's biggest names, including Elton John, Santana, Bonnie Raitt, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Michael Bolton, Billy Preston, PiL, Rod Stewart, Toto, Merl Saunders, and others. Tower of Power remains very active to this day, holding up a snappy touring schedule and issuance such novel albums as 1999's Soul Vaccination: Live; while respective compilations were issued around the like time: Rhino's double magnetic disc What Is Hip?: The Tower of Power Anthology (1999) and Very Best of Tower of Power: The Warner Years (2001), plus Epic/Legacy's Soul With a Capital "S": The Best of Tower of Power (2001).

Liar

   
Artist: Liar

   Genre(s): 
Metal
   Alternative
   

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Discography:


   
 Murder Manifesto

   Year: 2005   
Tracks: 10


   
 Set The World On Fire

   Year:    
Tracks: 8

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Linda & Hulk Hogan: Who's Stalking Who?

Linda Hogan called the cops claiming estranged husband Hulk Hogan was harassing her – and then began following him, according to a police report.

The drama allegedly took place on May 22, when cradle-snatchin' Linda dialled 911 to complain that the former WWE wrestler was breaking a court order by loitering outside her house.

After spotting her soon-to-be-ex hubby, Linda apparently decided that her best course of action was to follow him – prompting the emergency services operator to strongly urge, "Ma'am, ma'am - stop following him!"

Who's meant to be stalking who, again?

According to the police report obtained by TMZ, Linda also claims that Hulk had physically abused her during their marriage, citing an incident when he "held her down on the bed by her throat forcibly, causing her not to breath."

Hulk denies there is an injunction against him and Linda's claims that Hulk was violating such an injunction were listed as "unfounded" on the police report.

No charges were filed.

Princess Beatrice's Pampered Workday

Princess Beatrice's foray into working life as a personal shopper in Selfridges sees the 19-year-old shielded and supervised by the store's staff and her own security team.

The teen -- who is fifth in line to the throne -- currently works three hours a day at the posh London department store -- and is even more pampered than her customers.

A source told Britain's Daily Mail newspaper, "All the shoppers who made appointments with Beatrice were regulars at the store. No new customers were served by her.

"Even the shoppers who had been using the service for a while were vetted by security to make sure no harm could come to the princess.

"She wasn�t allowed to work on her own, and had the help of two assistants who helped her choose items for the customers. Obviously, the store can�t afford to lose its affluent customers, so she needed to be accompanied by people who knew what they were doing.�

The source added, "She tended to work just three hours a day, although she worked hard and could be seen rushing around the shop floor looking for items for customers.

"Everyone knows that working in a popular store like Selfridges could have made Beatrice a target, which is why she had a personal bodyguard with her at all times."

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Inspired — and inspirational — hip-hop from Talib Kweli

Brooklyn rapper Talib Kweli, 33, is the perennial poster boy for socially conscious hip-hop.

A rapper's rapper and thinker's thinker, he's equally happy to kick a freestyle rhyme on a corner or to recommend a Toni Morrison book. Several of Seattle's best hip-hop acts owe him a huge stylistic debt, and Sunday he plays a benefit at the Showbox with two: Gabriel Teodros and Common Market.

The all-ages show caps off local nonprofit Noise for the Needy's otherwise 21-and-older annual music event, its fifth and biggest yet. Starting earlier this week and continuing through Sunday, NFTN presents 17 concerts at 11 venues downtown and in the Capitol Hill and Ballard neighborhoods.

All of the participants — national indie-rock names (Black Angels, Two Gallants); various local rock, country, dance and hip-hop acts; and, of course, Kweli — agreed to let NFTN donate the proceeds to Urban Rest Stop, a local hygiene center that provides restrooms, laundry and shower facilities to the homeless. The full lineup is at www.noisefortheneedy.org.

Kweli and NFTN are previously connected. "Talib grew up with NFTN director Rich Green," said NFTN artist director Jeff Henry in a message. "We are honored to have such a well-respected artist on the bill."

After releasing the contemporary-classic "Blackstar" album in 1998 with rapper/actor Mos Def, Kweli rose to prominence through frequent collaborations with progressive rap group the Roots and three geniuses who, like him, were born to college professors: hip-hop artists Common and Kanye West and comedian Dave Chappelle.

In 2003, hip-hop mogul Jay-Z famously rapped, "if skills sold, truth be told, I'd probably be, lyrically, Talib Kweli." Ostensibly referring to technical rap skills, Jay-Z's admission hinted at something deeper. Both rappers are major enough to get sit-down interviews on PBS (Jay with Charlie Rose, Kweli with Tavis Smiley), but while Jay-Z does business with billionaires, Kweli makes fiery tracks like "Bushanomics" with "Race Matters" author Dr. Cornel West (freely downloadable as part of "The MCEO Mixtape" at www.myspace.com/talibkweli). Far from a technical issue, it's the citizen in Jay-Z that's jealous.

Teodros — an Afrocentric, feminist rapper from Beacon Hill — recalled a 2001 Kweli concert as profoundly positive. Surrounded by people chanting a well-loved "Blackstar" chorus ("knowledge of self, determination"), he and friend Khalil Crisis, aka local rapper Khingz, vowed, "we should do music together for the rest of our lives."

Ra Scion, MC for local duo Common Market (whose recent "Black Patch War" EP is already on the short list for best Seattle releases of 2008), sounds like nobody but Kweli: vaguely nasal tone, clipped phrasing, big words, evenly split focus on hip-hop as art and community-building tool.

Also performing Sunday is Grayskul, a dark, arty local rap group that played NFTN with Common Market last year. They're on the bill less because their music falls in line ideologically and more for their unforgettably intense live show.

Guitars are NFTN's thrust — Sunday's is one of only two rap-oriented concerts — but the biggest star this year happens to make hip-hop. To match the spirit of Noise for the Needy, it's a happy coincidence that Kweli's the kind of rapper who inspires you to put your money where your mouth is.

Andrew Matson contributes to www.raindrophustla.blogspot.com. Reach him at matson.andrew@gmail.com.

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• James Mcavoy - Mcavoy Fights For School
• Shania’s achy breaky heart
• Numb Encore
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Jaane Tu Ya Jaane Na Music Review

Would it be Qayamat Se Qayamat Tak once again with the arrival of Jaane Tu... Ya Jaane Naa? This is the first feeling one got the moment the first look of this Aamir Khan production was out. Marking the launch pad of his nephew, Imraan Khan, Jaane Tu...Ya Jaane Naa seems to be another innocent love story in the offering sans any unnecessary mush, hence going truly with contemporary times. With pretty girl Genelia D'Souza opposite Imraan in this campus flick and A.R. Rahman as the composer, this Abbas Tyrewala debut directorial venture (he also doubles up as a lyricist here), JTYJN, is a promising flick arriving this summer. Does the music hold up to the promise? The answer is - Yes! First things first - when the best of the best of 2008 would be written down, the number 'Kabhi Kabhi Aditi Zindagi' would definitely find a mention.