Download Mint Condition mp3

Artist: Mint Condition: mp3 download    Genre(s):  R&B: Soul     Discography:      Live from the 9:30 Club    Year: 2006    Tracks: 15      Life's Aquarium    Year: 1999    Tracks: 12      The Collection: 1991-1998    Year: 1998    Tracks: 15      Definition of a Band    Year: 1996    Tracks: 18 Formed in the early '80s in Minneapolis and St. Paul, Mint Condition began as lead utterer Stokley Williams, guitar instrumentalist Homer O'Dell, keyboardist Larry Waddell, keyboardist/saxophonist Jeff Allen, keyboardist/guitarist Keri Lewis, and guitarist/bassist Rick Kinchen. The six talented musicians aggregate a potpourri of influences and experiences to shape their have sound. Williams began performing classic West African instruments at the age of four-spot, spell O'Dell grew up hearing to his don play blues bass and singing with him in a household mathematical group. Waddell played in a recording liberal arts band at schoolhouse and down pat keyboards by listening to jazz greats Oscar Peterson and Herbie Hancock. Exposed to his father's extensive jazz collection, Allen played keyboards and sax in local bands throughout his high school days, as Lewis was mastering keyboards, percussion, and guitar spell attending school. Kinchen's low and strongest influence was his mob, all of whom played instruments and bucked up his interest in medicine. He developed his skills as a bass player by listening to records by Stanley Clarke and Louis Johnson of the Brothers Johnson. Kinchen played in versatile bands in his native Chicago and performed at several productions at Kennedy-King College in front moving to the Twin Cities. The banding was featured at the 1986 Minnesota Black Musician Awards program and built a strong core next for themselves in a five-state area (North Star State, Wisconsin, Iowa, Dakota, and Nebraska) as a result of their glaring, highly energetic resilient shows. Mint Condition came to the attention of Minneapolis soul producers Jimmy Jam and Terry Lewis as a result of a showcase performance in 1989. The banding had unshakable success showtime with the hits "(Breakage My Heart) Pretty Brown Eyes" and "Perpetually in Your Eyes" from their debut Meant to Be Mint, and with "Nonentity Does It Betta" and "(U Send Me) Swinging" from their instant album From the Mint Factory; they continued with the pt success of the single "What Kind of Man Would I Be" from their gold album Definition of a Band. Going into the 21st century, Mint Condition was the only high visibility R&B/pop banding with a major-label recording delineate by their fantabulous Life's Aquarium, issued in November 1999.

Katy Perry vows to continue with pop sound

Radiators rarities surface on new "Wild & Free" compilation

To pick up selected tracks from this release on NOLA Radio, snap here.

At the conclusion of "House of Blue Lights, " a 1986 live recording featured on the Radiators' new two-disc retrospective "Wild & Free, " singer/guitarist Dave Malone exclaims, "We got all the way through it!"

He's referring to the song, but his mazed exclamation could just as easily practice to the band's entire career. Malone, singer/pianist Ed Volker, guitar player Camile Baudoin, bassist Reggie Scanlan and drummer Frank Bua have gotten through 30 days and enumeration. As evidenced by the three decades of audio frequency odds and ends self-possessed on "Wild & Free" (Radz Records), the Radiators have remained remarkably genuine to their unique identity as a Big Easy Little Feat.

They have issued nearly as many resilient albums as studio albums, indicative of their priorities. The stage is where they shine. They've supplied the soundtrack for everything from hometown Mardi Gras bacchanals to funky throwdowns in such un-funky locales as the St. Paul, Minn., theater where Garrison Keillor broadcasts "Prairie Home Companion."

Through it all, Volker has compulsively taped Radiators gigs and rehearsals. Audio quality varies across "Wild & Free"; on the poor goal, the vocals in "Last Getaway" and "All Meat Off the Same Bone" distort as if passing through blown-out speakers. But the sound is by and large better than might be expected from old reel-to-reel source tapes submerged and mildewed in the May 1995 flood.

A dozen "Wild & Free" tracks originated at two venues that figure prominently in Radiators lore: Luigi's, the lovingly remembered pizza pie parlor on Elysian Fields Avenue good the University of New Orleans, and the Dream Palace, the Frenchmen Street den of iniquity today occupied by the Blue Nile.

Years of onstage marinating typically precede the conventional recording of Radiators songs in a studio. "Wild & Free" showcases familiar tracks early in their evolution. "All Meat Off the Same Bone" dates to Luigi's in June 1978 -- five months after the band's formation. A 1980 version of "Suck the Head, Squeeze the Tip" is particularly raw.

"Like Dreamers Do, " maybe the to the highest degree instantly addictive pop strain in the vast Radiators canon, is documented via a Dream Palace gig from 1986, a year before the song turned up on the Rads' Epic Records major-label debut, "Law of the Fish." The alive version doesn't quite foam like the studio recording, but the song's core is intact.

The collection's opener, a 2000 studio recording of "Wild and Free, " is the Radiators at their best: A tidy bit of songcraft by Volker with an unproblematic piano melody goosed by blues-rock jumper cable guitar lines and literate lyrical references. He's written such singsong melodies at least as far back as 1984's "Hard Rock Kid." (The Radiators cannot fully oblige the fertile Volker's voluminous output; "Prodigal, " credited to Zeke Fishhead, is his most recent solo effort.)

Malone tears into "Oh Beautiful Loser, " from a 1988 New York show during the band's Epic land tenure. Engaged guitar interplay simon Marks "My Home Is On the Border, " from 1984 at the Dream Palace. Former percussionist Glenn "Kul" Sears appears on nine-spot tracks, most prominently a bare-bones, slide guitar-juiced "Doctor Doctor" from 1984.

Two remnant recordings from the 1992 Minnesota gigs that yielded the alive album "Bucket of Fish" finally see the light of day here. "Strangers" ends with a guitar freakout, and an 11-minute "Songs From the Ancient Furnace" demonstrates exactly how agreeably malleable songs are in the practiced work force of the Radiators.

Not every track here is substantive. "Tear My Eyes Out" should non have loose the 1998 rehearsal where it was recorded. "Love Trouble, " recorded two decades earlier at Tipitina's, is unremarkable. The high-pitched keyboards on "Hard Time Train" and "Stand By Me, Baby, " both from a 1986 gig at the Dream Palace, sound like a peaked synthesized string section.

Two longtime favorites freshly spiffed up in the Music Shed studio bring out the Radiators' current mentality. "Where Was You At?" finds Malone engaging in a comic bit of New Orleans-ese over a gritty guitar riff. "The Girl With the Golden Eyes" is another mid-tempo Volker gem.

But mostly "Wild & Free" excavates the band's past. "Cupid's Got a Mighty Arrow, " a '78 studio recording with a robust Scanlan bass line, makes its debut on "Wild & Free" -- a record from the crypt well worth exhuming.

More info

• Bow Wow Reunites With Dupri In Studio
• Lawsuit Spells Bad News For Facebook’s Scrabulous (But Still Gets You 38 Points)
• Arcane Sun
• Lil Wayne Predictably Sued by Litigious Geezers
• Elton John expands Canadian run

Silver Mountain

   
Artist: Silver Mountain

   Genre(s): 
Rock
   Metal: Heavy
   

---

Discography:


   
 Breakin' Chains

   Year: 2000   
Tracks: 14


   
 Roses and Champagne

   Year: 1988   
Tracks: 9


   
 Universe

   Year: 1984   
Tracks: 8

---

Often overlooked in the evolutionary process of what would fare to be known as neoclassic lowering metal, Sweden's Silver Mountain ar one of the large Scandinavian cult bands of the eighties. Named for the famed birdsong by Ritchie Blackmore's Rainbow, Silver Mountain was first assembled in 1978 by vocalist/guitarist Jonas Hansson, guitar player Morgan Alm, bassist Ingemar Stenquist and drummer Marten Hedener; but this lineup would be short-lived, splintering afterwards cathartic but one unsuccessful single called "Man of No Present Existence" the next class. Numerous local musicians sifted through their ranks after that (including, it is said, succeeding guitar hero Yngwie Malmsteen), and it wasn't until late 1982 that a new criminal record handle was at long last smitten with latterly launched Dutch independent label Roadrunner Records. By then, a semi-stable quartet consisting of Hansson, bassist Per Stadin, keyboardist Jens Johansson and his drummer sibling Anders Johansson, had been playacting together for nearly two years, and the resulting chemistry was clearly revealed by the band's 1983 album, the at present underground classical Shakin' Brains. Effectively re-igniting the combustible spousal relationship of alloy and greco-Roman music where their original inspiration, Rainbow, had slacked off, Silver Mountain's debut received rave reviews in to the highest degree overweight metallic element magazines and promised great things to come. Even when Jens and Anders Johansson on the spur of the moment decamped to get together Malmsteen's nascent solo band the following year (ironically sufficiency, they helped him legal more than like Silver Mountain than whatever of his late exploits), Hansson and Stadin but rehired original drummer Hedener and, in a more surprising act, drafted a full-time isaac Merrit Singer and frontman in Christer Mentzer. Along with session keyboardist Erik Björn Nielsen, this card quick recorded 1984's Macrocosm to significantly smaller herald (more so than the recent defections, the consensus was that it was simply rush) -- leave out in Japan, where hysteric response actually lED to 1985's Hibiya -- Live in Japan album. Unfortunately, internal problems would soon set in in one case again, and the Silver Mountain creditworthy for 1988's last gasp crusade, the disappointingly olive-drab AOR-dominated Roses and Champagne, contained up to now another set of new members in Johan Dahlstrom (vocals) and Kjell Gustavsson (drums). Silver Mountain folded presently thereafter, with Hansson keeping busy passim the 1990s as a onetime soundtrack composer and his own Jonas Hansson Band. Then, in 2001, all four-spot members of the group's "classic" Shakin' Brains distinct to reconvene, turn back the clock, and record the not-surprisingly titled Breakin' Chains LP for old time's rice beer. The book appears to take closed on Silver Mountain's calling following that release, however, but its assorted members still stay dynamic in a number of other musical projects, so you never live.

Faye Wong - Wong Bachchan Named Asias Sexiest Vegetarians

Chinese singer/actress FAYE WONG has been named Asia's sexiest female vegetarian by animal rights campaigners.

The star came top in the poll by organisers at People For the Ethical Treatment of Animals (PETA) when the results were announced on Wednesday (18Jun08).

Wong edged out Die Hard 4 beauty Maggie Q to take the title.

Meanwhile, Bollywood actor Amitabh Bachchan was voted Asia's sexiest male vegetarian.

See Also

• Britney Spears - Britney Is Matchmaker For Brother
• Odonnell Will Wait For Marriage
• Conway Twitty
• Donna Summer, Crayons

BIG BROTHER: Tension Arises Between Stephanie & Mario

It may be the early stages of Big Brother 9 but things are brewing nicely. The genius secret relationship swap looked like it would cause tension between Steph and Lisa, although it seems as though a big row will erupt between Steph and Mario instead.

The Pop Idol reject, who ‘married’ the 42-year old on Sunday, stubbornly refused to sing happy birthday to her husband earlier this week as he and real-life girlfriend Lisa came out of the diary room after Mario’s ‘tasteful’ birthday celebrations.

In addition to the blatant snub, on Wednesdays show Mario decided that everyone needed to have ‘a health and safety meeting’ to the bemusement of his fellow housemates.

Steph’s face dropped when Mario exclaimed: “Spend an hour with me and you will be fully trained in health and safety!”

The prospect of spending more time with her ‘husband’ than necessary is clearly taking its toll on poor Steph.

Counting Crows - Saturday Nights & Sunday Mornings

When it comes to straight talking, Noel Gallagher is very rarely off the money. Asked at the height of Oasis' fame how he was dealing with being in the public eye Gallagher remarked: "I hate pop stars who go on whinin' about the price of fame and this that and the other.
"Let me just tell you that being famous is great. I love it, man. I think it's the best when you get stopped walking down the street for an autograph, that's the best feeling in the world. Then you get people like Eddie Vedder, you know what I mean? It's like, what's the point? Why is he in a band if he's so pissed off, you know what I mean? Why don't you just work in a car wash or like McDonald's or something?"
Like Vedder, Counting Crows frontman Adam Duritz might also contemplate a career change. Not one to shy away from playing the tortured artist card, Duritz's wordy lyricisms and petulant vocal delivery have managed to say very little over five albums beyond complaining about how being famous isn't all it's cracked up to be.
On 'Saturday Nights & Sunday Mornings', he's is at it again. Bemoaning celebrity dating, he sings "If you see that movie star and me/ If you see my picture in a magazine/ I'm just trying to make some sense outta me". Elsewhere, on the radio-rock of '1492', it's the spiritual emptiness of being surrounded by Italian disco girls who "take me on their knees again" that has Duritz in the throes of depression.
The Crows' approach to 'Saturday Nights & Sunday Mornings' was to make a record where one half would see the band "rock out" and the other would capture them in a mellower come-down mood. The sin and the shame, as Duritz put it. The reality however isn't a record operating on twin speeds simply because the Counting Crows have never managed to operate on any speed other than neutral.
The 'heavy' first half is middle-of-the-road rock - the sort of which characterised much of 1996's 'Recovering the Satellites'. On 'Hanging Tree' and 'Los Angeles' (co-written by Ryan Adams) Duritz and co reach for fifth gear while stuck in first and as a result, come off like cheesy pop stars trying to "rock-out". There is even some head-shakingly awful ad-libbing on the latter.
When the radio-rock blends with introspective pop however, the first half of the record begins to work better as the Crows slip into more comfortable skin. 'Sundays', 'Insignificant' and 'Cowboys' notably bare debt to REM and all echo the finer moments from 'August and Everything After'.
The 'Sunday Mornings' side beins with two of three references to Ireland. On 'Washington Square', Duritz sings of wandering "the highways of Dublin" where he "heard the songbirds of Ballyporeen" - the latter a reference to Tipperary songbird Gemma Hayes, who has toured with the Counting Crows and written with Duritz.
'On Almost Any Sunday Morning' Duritz hits one of his better lyrical achievements, with the frontman singing openly of his depression without linking it into his professional achievements.
Elsewhere lead single, 'You Can't Count On Me' makes for typically insipid Counting Crows and is one of the worst tracks here, while 'On A Tuesday In Amsterdam Long Ago' is calling out to be included in some US team drama. The poor second half ends with the uninspired 'Come Around' before belatedly finding some kick, melody and balls in bonus track 'Baby, I'm A Big Star Now'.
Recorded in two separate sessions by two different producers, 'Saturday Nights & Sunday Mornings' reeks of rushed birth despite a gap of six years since the release of its predecessor. The Gil Norton produced 'Saturday Nights' undoubtedly makes for the stronger half and was completed in early 2007. 'Sunday Morning' was meanwhile partly written while on tour last summer and recorded thereafter.
The rush to complete tracks to fulfil Duritz's concept for the album is all too evident, and ultimately 'Saturday Night & Sunday Mornings' sees a band beginning to run out of ideas and unable to box above their limitations.
Steve Cummins

Violet Indiana

   
Artist: Violet Indiana

   Genre(s): 
Pop
   Easy Listening
   

---

Discography:


   
 Russian Doll

   Year: 2004   
Tracks: 10


   
 Casino

   Year: 2002   
Tracks: 12


   
 Roulette

   Year: 2001   
Tracks: 12

---

Sonic champion Robin Guthrie (ex-Cocteau Twins) and vocaliser Siobhan de Mare (ex-Mono) made up the foggy dream pop of Violet Indiana. Shortly later on de Mare was relieved of her Mono duties, she received a sound call from Guthrie, asking her if she'd like to work with him. Unfamiliar with Guthrie's cult condition, she asked her sister about him and decided to take him up on the offer. In late 2000, the duo released the Gag EP on Bella Union, the label run by Guthrie and former Cocteau first mate Simon Raymonde. Retaining some of Guthrie's stylemark characteristics and compounding them with de Mare's lazy, confident pitch, the Suffocate EP constituted them convincingly enough as something removed from Guthrie's prior dance orchestra -- a catchy thing so. 2001's full-length Roulette improved on the bright debut. A singles collection, Casino, followed in other 2002. Russian Doll was the proper follow-up to Roulette, released in June of 2004.