George Michael and Elton John

   
Artist: George Michael and Elton John

   Genre(s): 
Pop
   

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Discography:


   
 Dont let The Sun Go Down On Me

   Year: 1990   
Tracks: 4

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Adam Sheridan

Imogen Heap And DJ Tiesto

   
Artist: Imogen Heap And DJ Tiesto

   Genre(s): 
House
   

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Discography:


   
 Hide and Seek

   Year: 2007   
Tracks: 1

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O'Neal Keeps Her Job

Reba McEntire

   
Artist: Reba McEntire

   Genre(s): 
Country
   Folk
   

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Discography:


   
 Reba Duets

   Year: 2007   
Tracks: 11


   
 Reba #1's (CD 2)

   Year: 2005   
Tracks: 18


   
 Reba #1's (CD 1)

   Year: 2005   
Tracks: 17


   
 What If It's You

   Year: 1996   
Tracks: 10


   
 For My Broken Heart

   Year: 1991   
Tracks: 10


   
 Rumor Has It

   Year: 1990   
Tracks: 10


   
 It's Your Call

   Year:    
Tracks: 10


   
 Christmas Collection (CD 2)

   Year:    
Tracks: 10


   
 Christmas Collection (CD 1)

   Year:    
Tracks: 10

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Reba McEntire was the most successful female transcription creative person in body politic music in the 1980s and nineties, during which sentence she scored 22 numeral one hits and released five gold albums, six-spot atomic number 78 albums, two double-platinum albums, tetrad triple-platinum albums, a quadruple-platinum album, and a quintuple-platinum record album, for certified album sales of 33.5 trillion over the 20-year period. While she continued to sell records in level-headed book of Numbers into the 21st hundred, she expanded her activities as an actress in film and on the legitimate degree, and particularly on telly, where she asterisked in a long-running situation comedy. Such diversification made her the sterling crossover star to emerge from area music since Dolly Parton.


Reba Nell McEntire was born March 28, 1955, in McAlester, OK, the moment daughter and third of little Joe children of Clark Vincent McEntire, a professional steer rope-maker, and Jacqueline (Smith) McEntire, a former school day teacher. Her older brother Del Stanley ("Pake") McEntire also became a commonwealth isaac Bashevis Singer, patch her jr. sister Martha Susan ("Susie") McEntire Luchsinger became a religious doctrine isaac Merrit Singer. McEntire was embossed on the 7,000-acre family cattle farm in Chockie, OK, traveling with her parents and siblings to the rodeos at which her father competed. Clark McEntire was named World Champion Steer Roper trey times, in 1957, 1958, and 1961. (McEntire's gramps, John McEntire, had north Korean won the same title in 1934.) McEntire's mother had aspired to a vocation in music but never chased it. She bucked up her children to sing and taught them songs and concord during the long machine trips 'tween rodeos. Alice McEntire, the oldest child, did not actively look for a musical life history, just the other trey were members of a country group, the Kiowa High School Cowboy Band, as early as 1969, when McEntire began attendance Kiowa High School in Kiowa, OK. She also entered local talent contests on her possess. In 1971, the Kiowa High School Cowboy Band recorded a individual, "The Ballad of John McEntire," for the petite Boss Records label, which pressed 1,000 copies. As the other '70s went on, the band gave way to a leash, the Singing McEntires, consisting of the deuce-ace siblings, which performed at rodeos. McEntire too followed in the family tradition of competing, becoming a barrelful racing car, the only rodeo issue open to women.


McEntire graduated from high gear schoolhouse in June 1973 and enrolled at Southeastern Oklahoma State University. While attending the National Rodeo Finals in Oklahoma City on December 10, 1974, she panax quinquefolius the national anthem on network television system. Also lay out at the rodeo was rural area star Red Steagall, wHO was impressed by her voice and asked her to go to Nashville to record some demos for his song publication company. After she did so in March 1975 during her fountain break from college, he took the tapes about town nerve-racking to get her a record deal and succeeded with Mercury Records, which signed her to a compact on November 11, 1975, that called for her to record deuce singles for the label. On January 22, 1976, she entered a Nashville recording studio and cut the first of those singles, "I Don't Want to Be a One Night Stand," which, upon its release, climbed to number 88 in the Billboard commonwealth singles chart in May. On June 21, 1976, she married Charlie Battles, a friend steer wrestler she had met at a rodeo. Battles later became her line coach.


On September 16, 1976, McEntire did her s Mercury recording session, which produced her instant individual, "(There's Nothing Like the Love) Between a Woman and a Man." It unwell at number 86 in March 1977. In the meantime, on December 16, 1976, she graduated from college on an accelerated three-and-a-half-year broadcast with a major in elementary education and a minor in music, freeing her to pursue her career full-time. Her record tag, however, seemed in no finical haste, although it picked up her option for farther recordings. Her third single, "Happy I Waited Just for You," recorded on April 13, 1977, unwell at number 88 in August, the same month Mercury released her debut record album, Reba McEntire, which did non chart. On September 17, 1977, she made her debut at the Grand Ole Opry.


2 and a half old age into her recording vocation, with very little to render for it, McEntire was paired with labelmate Jacky Ward for the two-sided single "Three Sheets in the Wind"/"I'd Really Love to See You Tonight" (the B-side a overcompensate of the belt down hit by England Dan & John Ford Coley), which reached number 20 in July 1978. That and her touring as an opening act for Steagall, Ward, and others increased her pic, and her next solo single, "Last Night, Ev'ry Night," reached number 28 in October, beginning a string of singles that made it at least into the nation Top 40. She commencement got into the Top 20 with her overcompensate of the Patsy Cline off "Sweet Dreams," which unwell at number 19 in November 1979. She unruffled wasn't selling any albums, however; her second LP, Out of a Dream, released in September 1979, did non chart.


McEntire continued to make strides on the singles chart, reach the Top Ten for the commencement time with "(You Lift Me) Up to Heaven," which peaked at number octad in August 1980. Feel the Fire, her third record album, released in October 1980, was some other failure, just afterwards a couple more Top 20 singles she reached the Top Five with "Today All Over Again" in October 1981. The song was featured on her fourth album, Essence to Heart, released in September, which helped it turn her number one to chart, stretch number 42 in the country LP lean. She achieved a new high on the singles chart in August 1982 when "I'm Not That Lonely Yet" reached number ternary. It was included on her fifth record album, Unlimited, released in June 1982, which strike number 22. But that was only the beginning. The LP likewise spawned "Can't Even Get the Blues" and "You're the First Time I've Thought About Leaving," which became consecutive number ane hits in January and April 1983. By and then, she had affected up from playing nightclubs and whitey tonks to existence the regular first step roleplay for the Statler Brothers. She went on to work in the same capacity with Conway Twitty, Ronnie Milsap, Mickey Gilley, and others.


It power be argued that Mercury Records had taken a 20-year-old neophyte vocalizing the national anthem at a rodeo and, all over a period of more than seven years, groomed her until she became a chart-topping area headliner. McEntire appears non to have viewed things that way, however. On the contrary, she seems to have been unhappy with the songs the label gave her to sing and the musical approach taken on her records, look that she was being pushed too often in a country-pop direction. She likewise has criticized Mercury's promotional efforts on her behalf. And, despite her recent success, the long years of development meant she was nowhere near repaying the investment Mercury had made in her, which, of course, was charged against her potency royalties on the company books. (Although she standard yearbook advances from the label, she later aforesaid that she did non go steady her first royalties from Mercury until 1988.) So, she sought-after a release from her get and, afterwards press clipping one more album for Mercury, her sixth LP, Slow the Scene, released in September 1983, she sign-language to MCA Records, her new contract taking effect on October 1, 1983. The first fruits of the switchover suggested that non much had changed. Her debut MCA single, "Just a Little Love," was a Top Five strike in June 1984, shortly later on the release of an album of the same mention, simply that LP was in reality less successful than Unlimited.


McEntire took unattackable action. Set to have Harold Shedd (Alabama's producer, and thence a hot commercial prop) produce her side by side album, she jilted his suggestions for songs and the sweetened arrangements he imposed on them and appealed to Jimmy Bowen, the new installed president of MCA's country division. Bowen allowed her to break up her possess material and to eliminate the strings and early pop touches victimized on Just a Little Love and her Mercury releases. The resolution was the pointedly titled My Kind of Country, released in November 1984, which was henpecked by covers of old land songs previously performed by Ray Price, Carl Smith, Connie Smith, and Faron Young. Even earlier the album's waiver, however, and before its progress individual, "How Blue," hit telephone number peerless, McEntire was named Female Vocalist of the Year by the Country Music Association (CMA) on October 8, 1984. It was a surprising gain; Dolly Parton, Barbara Mandrell, and Charly McClain had all arguably been more than successful during the old 12 months. But it was a advanced credit for a performing artist wHO was sagely aligning herself with such artists as Ricky Skaggs and George Strait as a "new diehard," moving rural area music back to its roots afterward the turn down of the pop-country Urban Cowboy phenomenon of the early '80s.


"How Blue" hit telephone number peerless in January 1985, followed by the second single from My Kind of Country, "Person Should Leave," which topped the chart in May as the album reached telephone number 13. (Eventually, it was certified gold.) With such success, McEntire was able to commence headlining her have concerts. For her adjacent record album, Give I Got a Deal for You, released in July 1985, she worked directly with Bowen, the two billed as co-producers. Another new diehard ingathering, it included her possess writing "Only if in My Mind," a Top Five hit, as well as a Top Ten hit in the title song; though the LP was not as successful as its predecessor, it too went gold over time, and it helped McEntire make her second successive CMA honor as Female Vocalist of the Year. Another important award came on January 14, 1986, when she became a penis of the Grand Ole Opry.


Possibly regular more than important than McEntire's decisiveness to perform euphony in a more than traditional country style was her Just as Loretta Lynn had spoken for pre-feminist women in the 1960s, McEntire had begun to address the emotional and empowering concerns of women in the 1980s. "Whoever's in New England," her adjacent single, released in January 1986 just in front of an record album of the same constitute, was a Kendal Franceschi and Quentin Powers' sung dynasty was written in the voice of a Southern woman world Health Organization believes her married man is having an involvement during his line of work trips up north, merely pledges that she will remain available to him when "whoever's in New England's through with you." It was a career-making sung dynasty for McEntire, non least because it was promoted by her number 1 music video recording. Reaching telephone number one in May 1986, it marked a major breakthrough for her, beginning a string of chart-topping hits that didn't start to slow downward for the succeeding trey long time. "Little Rock," the followup single, as well hit number one, as did the Whoever's in New England album, her first base LP to be qualified amber. (It by and by went pt.)


Her career in senior high gear, McEntire released her next album, What Am I Gonna Do About You, in September 1986, prefaced by a single of the same name that hit number one, as did the gold-selling LP, which too featured the chart-topping individual "One Promise Too Late." On October 13, 1986, McEntire non only north Korean won her third gear straight Female Vocalist of the Year Award from the CMA, simply too was named Entertainer of the Year. On February 24, 1987, she won her first base Grammy Award for Country Female Vocal for "Whoever's in New England." She released Reba McEntire's Greatest Hits in April; it became her first atomic number 78 album and finally sold over ternion billion copies. (It also became her number one album ever to sweep over to the pop charts.) On June 25, 1987, she filed for split up from Charlie Battles, her hubby of 11 years. After her split up was settled and Battles was awarded the couple's spread in Oklahoma, she affected to Nashville.


McEntire's string of hits continued with the freeing of The Last One to Know in September 1987, prefaced by a single of the same name that reached telephone number one in December. The album, too featuring the number one run into "Passion Will Find Its Way to You," reached telephone number trey and finally went pt. McEntire won an unprecedented quartern straight CMA award as Female Vocalist of the Year in October. In November, she released a holiday album, Gay Christmas to You, which, over the years, sold more than deuce zillion copies. She engendered contention with her following album waiver, Reba, which appeared in May 1988. Here, an creative person world Health Organization had jumped on the newfangled traditionalist bandwagon in 1984 suddenly jumped off, reversive to more of a pop-oriented style, without a tamper or a steel guitar anyplace. The album's lead off single was "William Ashley Sunday Kind of Love," a cover of the 1947 Jo Stafford pop hit. It peaked at number basketball team in July, actually the worst exhibit for a McEntire individual in intimately trey years. But the album had already begun a run of eight weeks at issue one by then, and it was supported by the subsequent chart-topping singles "I Know How He Feels" and "Raw Fool at an Old Game." It finally went pt. Also in 1988, McEntire founded Starstruck Entertainment, a company that handled management, booking, publication, and other aspects of her career and, finally, delineated other artists as well.


Sweet Sixteen, released in May 1989, was actually McEntire's fourteenth regular studio record album, merely her 16th numeration her authorized MCA hits compilation and Christmas album. The lead off unmarried was a cover of the Everly Brothers' "Cathy's Clown" that attain bit one in July, and it was followed by triad Top Ten hits, "'Til Love Comes Again," "Little Girl," and "Walk On," as the LP exhausted 13 weeks at the tip of the charts, with gross revenue eventually crossing the billion mark. It besides reached the pop Top hundred. McEntire had already recorded her next record album, Bouncy, the late April for acquittance in September and, though it took more than a 10, some other platinum certification. That gave her some breathing distance. On June 3, 1989, she married Narvel Blackstock, her managing director, world Health Organization had been part of her organisation since joining her band as its steel guitar histrion in 1980. On February 23, 1990, she caliber him a word, Shelby Steven McEntire Blackstock. A calendar month sooner, she had made her feature film performing debut in the risible horror motion-picture show Tremors, which had been nip the previous spring.


McEntire was plunk for on spell by May 1990, and she returned to record qualification in September with her fifteenth regular studio record album, Rumor Has It, which was prefaced by the individual "You Lie," a act one strike. Three other songs from the LP set in the land Top Ten: the title song, a revival of Bobbie Gentry's 1969 attain "Fancy," and "Fallin' Out of Love." The album finally sold deuce-ace million copies. McEntire was on tour promoting it when, on March 16, 1991, sevener members of her band and her road managing director were killed in a plane crash after a picture in San Diego. She dedicated her next album, For My Broken Heart, to them when it was released in October. The disk was another massive hit, going away gold and atomic number 78 simultaneously curtly after its waiver and finally merchandising foursome zillion copies, its singles including the chart-topping title song and another number ane, "Is There Life Out There." Also in 1991, McEntire co-starred in the TV mini-series The Gambler Returns: The Luck of the Draw. Her seventeenth album, It's Your Call, was released in December 1992, and, like Rumour Has It, it was an immediate jillion marketer, eventually going away triple atomic number 78. (It was too her first Top Ten pop album.) Its biggest individual was "The Heart Won't Lie," a duo with Vince Gill that attain bit one in April 1993. McEntire's following chart-topper was as well a pas de deux, "Does He Love You," song dynasty with Linda Davis; it hit number one in November 1993 and was included on her September liberation Superlative Hits, Vol. 2, an album that sold two meg copies practically extinct of the box and another trey million over the next phoebe days. "Does He Love You" won McEntire her arcsecond Grammy, for Best Country Collaboration with Vocals, and a CMA laurels for Vocal Event. She as well appeared in the TV flick The Man from Left Field in 1993.


By 1994, patch continuing to reign as country's most successful female isaac M. Singer, McEntire was increasingly turning her attention to former concerns. Her 18th regular studio record album, Read My Mind, appeared in April. Another inst million-seller that went on to go triple platinum, it threw off basketball team country chart singles, among them the chart-topping "The Heart Is a Lonely Hunter" and, polemically, "She Thinks His Name Was John," a song around a cleaning lady wHO contracts AIDS from a one-night stand. Even McEntire's star index could propel such an atypical country field only as senior high school as issue 15 in the charts. Meanwhile, she had parts in two feature films released during the summertime, a public speaking role in the drama North and a cameo in the children's comedy The Little Rascals. (She as well made an uncredited appearance in the Western flick Maverick and was heard on the soundtrack album.) She executive produced and starred in a TV flick based on her song, Is There Life Out There? And she published her autobiography, Reba: My Story, which became a bestseller.


McEntire's 19th album was called Starting Over, released in October 1995. Intended to mark the 20th anniversary of her transcription career, it was a collection of covers of well-known songs. It non only topped the country charts just hit number basketball team in the pop charts, selling a one thousand thousand copies out of the box. But, jactitation only one Top Ten hit, a revival meeting of Lee Greenwood's "Mob on Her Finger, Time on Her Hands," among three chart singles, and non achieving a multi-platinum documentation, it suggested that McEntire at long last had peaked commercially as far as nation music was concerned. (In a considerable going away for a commonwealth vocalizer, MCA released a dance remix of McEntire's revitalisation of the Supremes' "You Keep Me Hangin' On" from the album that reached figure two on Billboard's dance chart.) That didn't maintain her from starring in another TV mini-series, American bison Gals, acting famed Western sharpshooter Annie Oakley, a section her rodeo background suitable her to utterly. She bounced second on the country charts more or less with her twentieth album, What If It's You, released in November 1996. The album spawned four Top 20 hits, with "How Was I to Know" reaching figure one and "The Fear of Being Alone" and "I'd Rather Ride Around with You" each getting to number iI. Simultaneously certified gold and atomic number 78, the album finally topped deuce meg copies.


The singles careworn from What If It's You unbroken McEntire's diagnose in the country charts throughout 1997, as did the vacation benefit record book "What If," the takings from which were donated to the Salvation Army. But for the showtime sentence since 1978, she did not discharge a new album, even a digest, during the calendar year. Aiming for a splash, she teamed up with the popular country duo Brooks & Dunn in the outpouring of 1998 for a single called "If You See Him/If You See Her." It strike figure one in June, portion to set up the release of her twenty-first album, If You See Him, which likewise brought her three extra Top Ten hits on its way to merchandising a million copies. She appeared in the TV pic Eternally Love (the title of one of those Top Ten hits) during the twelvemonth and made several guest-star appearances on TV series.


After publication her second book of memoirs, Comfort from a Country Quilt, in May 1999, McEntire had two new albums ready for the fall. Secret of Giving: A Christmas Collection, a September outlet, was her second vacation CD, which she accompanied with a TV pic, Secret of Giving. The disc eventually went atomic number 79. So Good Together, issued in November, was her twenty-second regular studio album, prefaced by the Top Five individual "What Do You Say." Although none of the songs from the album topped the area charts, it did feature a second Top Five strike, "I'll Be," and a Top 20 strike in "We're So Good Together," and it went pt in front the end of 2000.


As in 1997, McEntire went without an album spillage in 2000, and in this character, it turned out that she in spades was placement herself for a career beyond country music, as events in 2001 showed. In February of that twelvemonth, she stepped in as a replacement star in the Broadway revitalisation of Irving Berlin's musical Annie Get Your Gun that had begun performances in 1999 with Bernadette Peters in the title part of Annie Oakley. Barry and Fran Weissler, the producers of the revitalisation, were known on Broadway for making money by keeping product costs down and by the extensive consumption of what was mockingly called "stunt molding": bringing in a well-known personality, often one without much of a theatre desktop, as a replacement to extend the run of a demonstrate, as a means of exciting the tourist crowd together wHO would accredit the name of a prominent TV star, for exemplar. McEntire had been preceded as a replacement in Annie Get Your Gun by soap opera principal Susan Lucci and TV actress Cheryl Ladd, both of whom unbroken the show departure while being mostly neglected or derided by theater insiders. McEntire turned out to be an solely unlike proposition. First, although she lacked licit theater see, she had by instantly done plenteousness of playing on television system and even a small in celluloid. Second, she had recollective since brought unusually high production values to her concerts that included choreography and costume changes, full preparation for like demands in the theater. Third, she could, of course of action, sing. And fourth, with her rodeo background and Oklahoma accent mark, she was an ideal Annie Oakley, simply as she had been in her previous TV portrayal. (Never mind that the genuine Annie Oakley was from Ohio; in everybody's mind, this female sharpshooter and star of Buffalo Bill's Wild West show, the precursor to the modern rodeo, was a Westerner.) The result was a crow for McEntire. Reviews were rapturous, and tickets sold out. The Tony Awards did non have a category for replacements (one has since been added), simply she was granted peculiar awards for her performance by the Drama Desk, the Outer Critics Circle, and Theatre World. She stayed in the show until June 22, 2001. Unfortunately, in that location was no new hurtle record album recorded to immortalize her appearing.


During the go of Annie Get Your Gun, McEntire was seen in a small part in the picture One Night a McCool's, released in April 2001. Her to the highest degree extensive filmed playing function began on October 5, 2001, however, when the half-hour situation comedy Reba premiered on the WB TV electronic network (later renamed the CW electronic network). The show became the master focus of McEntire's activities, and she affected to Los Angeles to accommodate it. She had non, however, given up rural area music all. In the summer of 2001, she released a individual, "I'm a Survivor," that peaked in the country Top Five and prefaced a new compilation, Sterling Hits, Vol. 3: I'm a Survivor, released in October. It topped the country charts and went gold.


McEntire was tenanted principally with her TV series during 2002 and 2003. She eventually returned to record fashioning afterward two age in the summertime of 2003 with a new single, "I'm Gonna Take That Mountain," which peaked in the country Top 20. Room to Breathe, her 23rd regular studio record album and first in terzetto years, followed in November and went atomic number 78 over the following ball club months. The disc's second individual, "Mortal," hit number ane, and it was followed by some other Top Ten hit, "He Gets That from Me," and the Top 20 "My Sister."


Reba continued on into 2004 and 2005. McEntire set up time in the spring of 2005 to render to the musical theater, if simply for one night. In some other piece of elysian cast, she depicted the "lopsided optimist" from Arkansas, Ensign Nellie Forbush, in a special concert translation of Rodgers & Hammerstein's Confederacy Pacific performed at Carnegie Hall. The all-star production, also featuring Broadway asterisk Brian Stokes Mitchell and histrion Alec Baldwin, was filmed for a PBS limited on the network's Great Performances series and recorded for an album, both of which appeared in 2006.


By 2005, the catalogs of Mercury and MCA had been combined in the major label Universal, and in November MCA released McEntire's first combined hits compendium, the double-CD set Reba: #1's, with iI freshly recorded tracks. It went amber and pt at the same time. In 2006, as she began the one-sixth season of Reba, McEntire too sonant a lineament in the holiday pic going Charlotte's Web. The one-sixth season of Reba proven to be the last, as the show sign off the air on February 18, 2007. Not one to sit loose, McEntire toured the U.S. from May 25 through August. On September 18, 2007, she released a new album, Reba Duets, featuring such guests as Justin Timberlake, Don Henley, Kelly Clarkson, Kenny Chesney, Carole King, Faith Hill, Ronnie Dunn of Brooks & Dunn, Vince Gill, Rascal Flatts, LeAnn Rimes, and Trisha Yearwood. It was prefaced by the individual "Because of You," a duet with Clarkson. For the workweek conclusion October 6, 2007, Reba Duets became McEntire's first album e'er to participate the pop charts at identification number ane.

Ablaze In Hatred

   
Artist: Ablaze In Hatred

   Genre(s): 
Metal: Doom
   Metal: Death,Black
   

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Discography:


   
 Deceptive Awareness

   Year: 2006   
Tracks: 7


   
 Closure Of Life (Demo)

   Year: 2005   
Tracks: 3

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Loom

   
Artist: Loom

   Genre(s): 
Trance: Psychedelic
   

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Discography:


   
 Promo CDM

   Year: 2003   
Tracks: 3

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The electronic-pop getup Loom hails from Georgia and released their self-titled debut in September 2000.





Nicole Kidman: 'I Cried When I Saw My Ultrasound Picture'

Bullet Boys

   
Artist: Bullet Boys

   Genre(s): 
Metal: Heavy
   

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Discography:


   
 Za-Za

   Year: 1993   
Tracks: 11


   
 Freakshow

   Year: 1991   
Tracks: 12

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Pan Sonic

   
Artist: Pan Sonic

   Genre(s): 
Ambient
   Techno
   Electronic
   Blues
   Industrial
   

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Discography:


   
 Kesto (234.48:4) (CD4)

   Year: 2004   
Tracks: 1


   
 Kesto (234.48:4) (CD3)

   Year: 2004   
Tracks: 8


   
 Kesto (234.48:4) (CD2)

   Year: 2004   
Tracks: 12


   
 Kesto (234.48:4) (CD1)

   Year: 2004   
Tracks: 12


   
 Kesto

   Year: 2004   
Tracks: 33


   
 Pan Sonic Live At Norbergfestivalen, Sweden 2003 - Radio [Mantraitor]

   Year: 2003   
Tracks: 1


   
 Aaltopiiri

   Year: 2001   
Tracks: 17


   
 Mort Aux Vaches

   Year: 2000   
Tracks: 1


   
 X

   Year: 1999   
Tracks: 10


   
 B

   Year: 1999   
Tracks: 4


   
 A

   Year: 1999   
Tracks: 17


   
 Arctic Rangers

   Year: 1998   
Tracks: 4


   
 Osasto EP

   Year: 1996   
Tracks: 4


   
 Vakio

   Year: 1995   
Tracks: 15


   
 Osasto CDEP

   Year: 1995   
Tracks: 4


   
 Panasonic (EP) [Sahka007]

   Year: 1994   
Tracks: 2


   
 Charlemange Palestine - Mort Aux Vaches

   Year:    
Tracks: 1

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Finnish minimalist techno group Pan sonic are among the most active and well-known artists from that country's midget experimental techno resistance, and the offset to reach clap at an international level. Pursuing the scraggy edges of minimal techno and hard-core, the grouping have earned an abiding association with industrial and disturbance medicine through their incorporation of antiseptic production techniques and power tool electronics, landing them in 1995 on the English Mute label's experimental subsidiary company Blast First! (most of their catalog to date has since appeared there). The affinity lay more at the surface, however, as Pan sonic are better understood as a hit 'tween Jeff Mills and Mike Ink; dance-based electronic music with a maximum of impact, realised through a minimum of foreign item. Known for junking together studio apartment equipment from spare parts and ancient analogue rubble, Pan sonic's search for the untested in techno is their compositional M.O., placing them closer to the music's Detroit roots than is much understood.


Formed in Turku in the early '90s, Pan sonic began as the duet of Mika Vainio and Ilpo Väisänen. As with most Finnish techno groups, Pan sonic's earlier beginnings lay with the Sahko/Puu imprint, the focus of the Northern European techno scenery and home to such artists as Kirlian, Philus, Ø (Vainio's solo guise), Mono Junk, and Jimi Tenor. Pan sonic released its self-titled debut single through Sahko in 1994 earlier organism joined by third member Sami Salo and landing a narrow with Blast First! the following class. The group's first BF! acquittance, Vakio, was a full-length CD/triple-10" boxed typeset featuring the same brand of furtive, passively aggressive techno, though with a fuller, more thought-out well-grounded. Soon afterwards Vakio's release in 1995, Salo left the group (ostensibly to join the Army), and Pan sonic's subsequent releases -- the Osasto EP and the group's 1997 sophomore long-player, Kulma -- noted his absence by their relatively harder, less subtle tone.


Pan transonic added live carrying out to their regular repertoire in 1996, playing a number of gigs throughout Europe and Japan, as well as touring with gothic rock group the Swans. Vainio stirred to London in 1997, where, in improver to his chronic commitment to Pan sonic, he continues to record as Ø (his third base full-length under that name, Olento, was issued on Sahko precisely prior to Kulma's release). He has besides released work on Sahko, Puu, and Cheap as Tekonivel, Orchestra Guacamole (with Jaakko Salovaara), and Kosmos (with Jimi Tenor), as good as remixed tracks for Björk and Tactile. Pan sonic have besides been featured on several compiling albums, including A Fault in the Nothing (Contact, 1996) and Funktion 1: Finnish Techno Collection (Function, 1996). By 1998, an inevitable confrontation with the Japanese fabrication giant besides known as Pan sonic had resulted in a name-change of sorts, to Pan sonic. The wanting letter re-surfaced the following twelvemonth, as the title of the duo's third album. Vainio and Väisänen besides recorded the Endless LP (as VVV) with the addition of Suicide vocaliser Alan Vega. In 2001, Pan sonic returned with Aaltopiiri, toured the world, and then returned with a four-disc record album, Kesto (234.48:4), in 2004.

Tax bill would give actors their big break

WASHINGTON (Hollywood Reporter) - Struggling actors and other performers would get a break under federal tax legislation introduced Thursday that doubles the limit under which they can deduct business expenses.


The Senate bill raises the income limit under which an actor or other performing artist can get the standard income tax deduction and also write off performance-related expenses such as headshots and transportation to and from auditions as "adjustments to income," rather than having to write these expenses off as itemized deductions.


"This tax code is so outdated, it's more appropriate for court jesters from the Middle Ages than for today's performing artists," said Sen. Charles Schumer, D-N.Y.


The deduction was set in 1986 at a $16,000 annual income. Schumer's bill raises that to $30,000, indexes the cap to inflation and applies it to individuals, eliminating the "marriage" penalty under current law. Schumer and Sen. Dianne Feinstein, D-Calif., are the legislation's chief backers.


"California is home to thousands of talented performing artists who work hard just to make ends meet," Feinstein said. "They are the backbone of the entertainment industry, but the tax code hasn't kept pace with the times."


The bill also has the backing of the American Federation of Television and Radio Artists (AFTRA).


Reuters/Hollywood Reporter

Maria Muldaur

   
Artist: Maria Muldaur

   Genre(s): 
Dance
   Pop
   Rock
   Blues
   Jazz
   

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Discography:


   
 Sweet Lovin' Ol' Soul

   Year: 2005   
Tracks: 12


   
 Love Wants to Dance

   Year: 2004   
Tracks: 9


   
 Sweet Harmony/Open Your Eyes Disc 2

   Year: 2003   
Tracks: 10


   
 Sweet Harmony/Open Your Eyes Disc 1

   Year: 2003   
Tracks: 10


   
 Maria Muldaur's Music for Lovers

   Year: 2000   
Tracks: 11


   
 Meet Me Where They Play The Blues

   Year: 1999   
Tracks: 12


   
 Southland of the Heart

   Year: 1998   
Tracks: 11


   
 Waitress in a Donut Shop

   Year: 1993   
Tracks: 11


   
 Maria Muldaur

   Year: 1993   
Tracks: 11


   
 A Woman Alone With The Blues (Promo)

   Year:    
Tracks: 4

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Best known for her seductive '70s pop staple "Midnight at the Oasis," Maria Muldaur has since become an acclaimed interpreter of precisely around every bar of American roots music: blues, early jazz, gospel, folk, country, R&B, and so on. While these influences were sure enough gift on her more pop-oriented '70s recordings (as befitting her Greenwich Village folkie past times), Muldaur really came into her have as a true roots music hairstylist during the '90s, when she developed a especial fascination with the 10000 sounds of Louisiana. On the drawing string of well-received albums that followed, Muldaur trussed her eclectic method together with the romanticist sensualism that had underpinned much of her best figure out ever so since the showtime of her career.


Muldaur was innate Maria D'Amato on September 12, 1943, in New York. As a child, she loved country & western music and began tattle it with her auntie at years five; during her teenage old age, she stirred on to R&B, early rock'n'roll & roll, and girl mathematical group pop, and in high school formed a group in the latter style called the Cashmeres. Growing up in the Greenwich Village field, however, she course became spell-bound with its stentorian early-'60s folk revitalisation and soon began participating in jam sessions. She also affected to North Carolina for a spell to study Appalachian-style fiddle with Doc Watson. Back in New York, she was invited to fall in the Even Dozen Jug Band, a gospeler mathematical group that included John Sebastian, David Grisman, and Stefan Grossman; they had secured a recording deal with blueswoman Victoria Spivey's label and she precious them to total some sexuality appeal. The young D'Amato got a crash trend in early blues, particularly the Memphis scene that spawned many of the original jug bands, and counted Memphis Minnie as one of her tribal chief influences.


Elektra Records bought out the Even Dozen Jug Band's take and released their self-titled debut album in 1964; nevertheless, straight to their cite, the band's unwieldy size made them an expensive engagement on the club and coffee shop circuit and they before long disbanded. Many of the members went off to college and, in 1964, D'Amato stirred to Cambridge,MA, home to some other vibrant folks shot. She speedily joined the Jim Kweskin Jug Band and began an affair with isaac Bashevis Singer Geoff Muldaur; the duo eventually married and had a daughter, Jenni, world Health Organization would later get a vocalizer in her possess right. When the Kweskin band broke up in 1968, the duo stayed with their label (Reprize) and began recording together as Geoff & Maria Muldaur. They stirred to Woodstock, NY, to take reward of the burgeoning music setting thither and issued two albums -- 1970's Pottery Pie and 1971's Sweet-scented Potatoes -- in front Geoff departed in 1972 to form Better Days with Paul Butterfield, a act that signaled non only when the last of the couple's musical partnership, only their wedlock as intimately.


Initially diffident about her musical future, Muldaur's friends bucked up her to follow a solo calling, as did Reprise chairwoman Mo Ostin. Muldaur went to Los Angeles and recorded her self-titled debut album in 1973, marking a massive Top Ten pop hit with "Midnight at the Oasis." Showcasing Muldaur's playfully sulphurous crooning, the Middle Eastern-themed song became a pop radio raw material for eld to come and besides made academic session guitarist Amos Garrett a frequent Muldaur quisling for eld to fall. Muldaur's side by side album, 1974's Waitress in a Donut Shop, featured a hit remake of her Even Dozen-era theme song air, "I'm a Woman." Three more than Reprise albums followed o'er the course of the '70s, broadly with the cream of the L.A. session crop, just besides with more and more diminishing results.


About 1980, Muldaur became a reborn Christian; she recorded a live album of traditional gospel songs, Gospel Nights, for the littler Takoma judge in 1980, and touched into full-fledged CCM with 1982's On that point Is a Love, recorded for the Christian judge Myrrh. However, this new steering did not raise permanent, and for 1983's Sweet and Slow, Muldaur recorded an album of jazz and blues standards (many with longtime age group Dr. John on forte-piano) that created precisely the mode its title suggested. 1986's showy Transbluecency won a year-end critics' prize from the New York Times. Muldaur spent the rest of the '80s touring, often with Dr. John, and too began performing in musicals, appearing in productions of Pump Boys and Dinettes and The Pirates of Penzance. In 1990, she recorded an album of greco-Roman nation songs, On the Sunny Side, that was specifically geared toward children; it proved a surprising succeeder, both critically and among its intended audience.


Part divine by Dr. John's New Orleans obsessions, Muldaur signed to the rootsy Black Top judge in 1992 and cut Pelican State Love Call, which established her as a versatile stylist well-versed in the blues, gospel, New Orleans R&B, Memphis blues, and soul. The record album won wide acclaim as one of the charles Herbert Best works of her career, offering a more organic, stripped access than her '70s pop albums, and became the best-selling record in the Black Top catalogue. Her 1994 followup, Get together Me at Midnite, was nominative for a W.C. Handy Award. Muldaur side by side cut a jazzier outing for the Canadian roots label Stony Plain, 1995's Jazzabelle. She later on sign-language with Telarc and returned to her previous steering, making her pronounce debut with 1996's well-received Fanning the Flames. 1998's Southland of the Heart was a less bluesy field day recorded in Los Angeles and was released the same year as a second gear children's album, Swingin' in the Rain, a ingathering of sway tunes and pop novelties from the '30s and '40s. 1999's Touch Me Where They Play the Blues was intended to be a collaboration with West Coast blues pianissimo legend Charles Brown, simply Brown's wellness problems prevented him from contributory much (merely one vocal on "Gee Baby, Ain't I Good to You"); hence, the project became more of a tribute.


Muldaur touched back to Stony Plain for 2001's Richland Woman Blues, a tribute to early blues artists (particularly women) inspired by a travel to to Memphis Minnie's tomb. Featuring a variety of special guest instrumentalists, Richland Woman Blues was nominative for a Grammy for Best Traditional Blues Album. The children's record album Brute Crackers in My Soup: The Songs of Shirley Temple appeared in 2002. The side by side year saw the release of Fair sex Alone with the Blues, a ingathering of songs associated with Peggy Lee, on Telarc Records. Love Wants to Dance followed in 2004, too on Telarc. The for the most part acoustic Sweet Lovin' Ol' Soul was issued by Stony Plain in 2005, followed by Spunk of Mine: Love Songs of Bob Dylan on Telarc in 2006. Songs for the Young at Heart was besides released in 2006. The following year, the lowest in the prepare of tierce albums that nonrecreational protection to female the blues singers of the twenties through forties, Naughty, Bawdy and Blue (the other two were Richland Woman Blues and Sugared Lovin' Ol' Soul), came knocked out.