Download Bobby Bare mp3

Artist: Bobby Bare: mp3 download    Genre(s):  Country     Discography:      The Moon Was Blue    Year: 2005    Tracks: 11      The Essential Bobby Bare    Year: 1997    Tracks: 20      Drunk And Crazy    Year: 1980    Tracks: 13      Detroit City / 500 Miles Away From Home    Year: 1963    Tracks: 24 Bobby Bare's news account is nearly as captivating as his medicine. Bare's mother died when he was v. His father couldn't earn enough money to flow his children, forcing the fellowship to rip up. Bare was working on a farm by the time he was 15 years honest-to-god, later working in factories and marketing ice cream to support himself. Building his modest guitar, he began playing music in his previous teens, acting with a local Ohio band in Springfield. In the previous '50s, he moved out to Los Angeles. Bare's low appearance on record book was in 1958, as he recorded his own talking blues "The All American Boy," which was credited to Bill Parsons. A figure of labels refused the record before the Ohio-based Fraternity Records bought it for $50; the fee too included the publication rights. "The All American Boy" was released in 1959 and it astonishingly became the second-biggest individual in the U.S. that December, crossing all over to the pop charts and peaking at number ternion. The exclusive was too a big hit in the U.K., reaching number 22. Before Bare could capitalise on his success, he was drafted into the armed forces. While he was on tariff, Fraternity leased another isaac M. Singer to become Bill Parsons and sent him kayoed on turn. After Bare left the army, he became roommates with Willie Nelson. During this time, he distinct to go a pop singer. Soon, he was touring with pop/rock stars like Roy Orbison and Bobby Darin, recording records for a number of California labels. Meanwhile, his songs were being recorded by a figure of artists; ternion of his tunes were featured in the Chubby Checker motion picture Adolescent Millionaire. Level though he was having some meek success, Bare decided he wasn't fulfilled playing pop music. Instead, he turned back to rural area, development a distinctive portmanteau word of area, folk, and pop. In 1962, Chet Atkins sign-language him to RCA Records. By the end of the year, he had a dispatch with "Dishonor on You," which was renowned for organism one of the first records out of Nashville to make concessions to the pop charts by featuring horns. The production worked, as the individual bust into the pop charts. The following year, he recorded Mel Tillis and Danny Dill's "Motown City," which became his instant straight single to make both the land and drink down charts. Bare followed up the exclusive with a traditional folks song, "five hundred Miles from Home." It was some other liberal dispatch for the singer, peaking in the Top Ten on both the area and pop charts. Bare continued to rack up hits in 1964 and 1965, as easily as appearance in the Western motion picture A Distant Trumpet. As the '60s progressed, Bare continued to blur the lines betwixt country and folk, as he was influenced by songwriters like Bob Dylan, recording material by Dylan and several of his contemporaries. Not only did he explore American folk, simply Bare travelled to England, where he was pop. In 1968, he recorded an album with a Liverpool rural area band called the Hillsiders (The English Country Side), which signaled his artistic drive. Stripped switched record labels in 1970, sign language with Mercury Records. He stayed at the label for deuce age, producing a string of Top Ten hits, including "How I Got to Memphis," "Please Don't Tell Me How the Story Ends," and "Come Sundown." Upon leaving Mercury, he recorded an album for United Artists called This Is Bare Country, which remained unreleased until 1976; rather, the label released a collection, The Very Best of Bobby Bare. After going UA, he re-signed with RCA in 1973. Later on in 1973, Bare released a forked album of Shel Silverstein songs, Bobby Bare Sings Lullabys, Legends and Lies. Not only did the album interpret the beginning of a collaboration with Silverstein, it was arguably the low rural area conception album, adding fire to the lawless movement of the '70s in the work on. The record was a remove with rural area audiences as good as rock candy fans, gaining airplay on FM wireless stations of the Cross. The following year, he had his outset number one individual with "Marie Laveau." Bare released some other record of Silverstein songs, Bobby Bare and the Family Singin' in the Kitchen, in 1975. Unfortunately, the singer's oldest girl died shortly afterward transcription the album; she was only 15. In 1977, Bare received a major packaging push from Bill Graham, the legendary stone concert booster. Graham signed the isaac Bashevis Singer to his direction company, proclaiming that Bare was the "Springsteen of country music." Soon, the vocalist found new audiences at college campuses and in Canada. He switched record labels the same year, transcription the self-generated Naked for Columbia. Two age later, he released Sleeper Whenever I Fall, which featured contributions from Rodney Crowell and rearranged careen & vagabond songs like the the Rolling Stones' "The Last Time" and the Byrds' "Feel a Whole Lot Better." Bare resumed his coaction with Silverstein in 1980, releasing the lively ingathering Downward and Dirty, which spawned 2 humourous hits, "Book of Numbers" and "Tequila Sheila." The following year, he released As Is, which showed that he was continuing to record a diverse pick of songwriters, including Townes Van Zandt, J.J. Cale, and Guy Clark. Disdain the fact that his act was consistently critically acclaimed, Bare's record sales began to slip in the early '80s, as the 1982 Silverstein coaction Drinkin' from the Bottle, Singin' from the Heart and his 1985 record for EMI failed to set up whatsoever major hit singles. Nevertheless, Bare continued to retain a devoted undermentioned in the U.S. and the U.K., and his influence on contemporary rural area music remains apparent. In 2005, the Dualtone label coaxed Bare out of retreat and released a new record album, The Moon Was Blue.

Mp3 music: Brenda Lee

Artist: Brenda Lee: mp3 download    Genre(s):  Country Pop Other     Brenda Lee's discography:      The Definitive Collection    Year: 2006    Tracks: 28      Brenda Lee    Year: 1991    Tracks: 10      Bye Bye Blues    Year: 1966    Tracks: 12      Sincerely    Year: 1962    Tracks: 12      All The Way    Year: 1961    Tracks: 12      Little Miss Dynamite, Vol. 4    Year:     Tracks: 31      Little Miss Dynamite, Vol. 3    Year:     Tracks: 28      Little Miss Dynamite, Vol. 2    Year:     Tracks: 30      Little Miss Dynamite, Vol. 1    Year:     Tracks: 33      Bonus Tracks    Year:     Tracks: 12      All Time Greatest Hits Disk 3    Year:     Tracks: 12      All Time Greatest Hits Disk 2    Year:     Tracks: 12      All Time Greatest Hits Disk 1    Year:     Tracks: 12 One of the biggest pop stars of the early '60s, Brenda Lee hasn't attracted as practically critical respect as she deserves. She is sometimes inaccurately characterized as unrivalled of the few female adolescent idols. More crucially, the course credit for achieving success with pop-country crossovers commonly goes to Patsy Cline, although Lee's efforts in this date of reference were arguably of equate importance. While she made few recordings of note afterwards the mid-'60s, the c. H. Best of her outset base decennium is hunky-dory so, wide non just now the pour down ballads that were her biggest hits, just uncoiled region and some astonishingly tearing rockabilly. Lee was a kid presage, appearance on national television system by the age of ten, and making her first recordings for Decca the next year (1956). Her first few Decca singles, in fact, have a pretty fair bid for the topper preteenager rock music & roll performances this face of Michael Jackson. "BIGELOW 6-200," "Dynamite," and "Little Jonah" ar all exceptionally powerful rockabilly performances, with robust vocals and white-hot backup from the lick of Nashville's session musicians (including Owen Bradley, Grady Martin, Hank Garland, and Floyd Cramer). Lee would non experience her low gear big hits until 1960, when she toughened the rockabilly with stripling god pop on "Fresh Nothin's," which went to the Top Five. The comparing betwixt Lee and Cline is to be expected, granted that both singers were produced by Owen Bradley in the early '60s. Naturally, many of the same seance musicians and backup vocalists were employed. Brenda, however, had a larger in with the pop audience, non just because she was noneffervescent a stripling, just because her corporeal was more pop than Cline's, and non as country. Between 1960 and 1962, she had a stunning series of vast hits: "I'm Sorry," "I Want to Be Wanted," "Emotions," "You Can Depend on Me," "Dum Dum," "Fool away #1," "Break It to Me Gently," and "All Alone Am I" all made the Top Ten. Their crossover invoke is no mystery. While these were ballads, they were delivered with sufficiency lovesick longing to appeal to adolescents, and sufficiency adulthood for the adults. The first class melodious songwriting and professional orchestral production guaranteed that they would not be ghettoized in the land market place. Lee's net Top Ten pop hit was in 1963, with "Losing You." While she noneffervescent had hits through the mid-'60s, these became smaller and less buy at with the uprise of the British Invasion (although she remained very democratic abroad). The topper of her after hits, "Is It True?," was a surprisingly hard-rocking performance, recorded in 1964 in London with Jimmy Page on guitar. 1966's "Approaching on Strong," yet, would turn out to be her net Top 20 entry. In the early '70s, Lee reunited with Owen Bradley and, care so many other white person rock & roll stars, returned to rural area euphony. For a clip she was reasonably successful in this field, fashioning the land Top Ten sextuplet times in 1973-1974. Although she remained active as a recording and touring artist, for the last couple of decades she's been little more than than a living legend, directing her intermittent artistic efforts to the state audience.

James Solberg

Mantas

   
Artist: Mantas

   Genre(s): 
Other
   

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Discography:


   
 Zero Tolerance

   Year: 2004   
Tracks: 10


   
 Winds Of Change (LP)

   Year: 1988   
Tracks: 9

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Mantas was the band formed by quondam Venom guitarist Jeff Dunn (aka Mantas, by nature) following his acrimonious discharge from the group, and their splashy, synthesizer-driven voiceless consonant rock and roll healthy was indeed a far cry from the legendarily raw black alloy pioneers. Not that the latter in whatever agency translated into increased record crying sales, since the group's 1988 debut album -- competently named Winds of Change, and in reality recorded four-spot years preferably -- was released by the promotionally challenged Neat Records. Rather, both the album and 1989's more or less more aggressive Beguiler EP were summate busts with one-time fans and prospective new ones alike, proving that you Mantas the band (which, by the way, was rounded out by Pete Harrison, second gear guitarist Al Barnes, keyboardist Keith Nichol, and a membranophone machine!!!) disintegrated in front visual perception the nineties, just a modern batten order featuring sometime Atomkraft and Venom bassist/vocalist Tony Dolan was briefly convened to record 2004's Zero Tolerance LP.

Meat Puppets

   
Artist: Meat Puppets

   Genre(s): 
Other
   

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Discography:


   
 Golden Lies

   Year: 2000   
Tracks: 14


   
 No Joke!

   Year: 1995   
Tracks: 13


   
 Too High To Die

   Year: 1994   
Tracks: 14


   
 No Strings Attached

   Year: 1990   
Tracks: 24

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Out of all of the bands that made SST Records a eminent military group in the American underground during the mid-'80s, the Meat Puppets lasted the longest, surviving where other bands fell aside. The Meat Puppets never had the dedicated following of Hüsker Dü or the Minutemen -- two dude SST bands world Health Organization played the same racing circuit as the Puppets -- merely they were able to carve out a long calling where other hard-core bands could non, because they ever drew from conventional heavy rock as well as punk. Not only did they play hard, forte, and fast, but they also had elements of the blues-rock of ZZ Top, the ambling folk-rock of the Grateful Dead, and Neil Young's country-rock and hard rock. As they grew old, the isthmus matured musically, developing an accomplished instrumental proficiency and moving closer to the traditional hard stone that was always underneath their punk. But they never quite abandoned their punk rocker roots, even when they shortly stone-broke into the mainstream in the former '90s.


The core of the Meat Puppets was Curt (guitar; born January 10, 1959) and Cris Kirkwood (bass; born October 22, 1960), a pair of brothers born and raised in Phoenix, AZ. As teenagers, the Kirkwoods played in local stone & roll bands, in the first place playing mainstream rock and hard careen. After graduating from a Jesuit preparation school, the brothers formed the Meat Puppets in 1980 with drummer Derrick Bostrom. Unlike the Kirkwoods' in the first place bands, the Meat Puppets were immediately elysian by punk rock; they were so committed to keeping the music toughie that they refused to rehearse.


A small over a year later on their organization, the Meat Puppets released their beginning EP, In a Car, on World Imitation. At this point in their life history, the set was at its noisiest, performing tempestuous hardcore with avant-garde leanings. Greg Ginn, the lead guitar player for Black Flag and the forefront of SST Records, heard the platter and offered the Meat Puppets a get with SST. In 1982, the dance orchestra released their uncut eponymous debut album on SST, which continued in the experimental vein of their EP.


The Meat Puppets didn't produce their possess distinctive voice until their instant record album, Kernel Puppets II, which was released in 1984. On Meat Puppets II, the dance orchestra created a unification of punk and country that sounded unlike anything else in the American underground. With their irregular album and changeless touring, the Meat Puppets began to work a dedicated cult undermentioned across the U.S. that continued to get throughout the repose of the tenner. In 1985, the group released their third album, Up on the Sun, which earned them their first reviews in mainstream music publications. Up on the Sun also demonstrated that the set was beginning to streamline their sound, moving closer to traditional blues-rock, country-rock, and psychedelia. This shift toward conventional hard stone continued end-to-end the late '80s, as the band bit by bit sanded away their rougher, punk edges.


After cathartic an EP called KO'd My Way in 1986, the Meat Puppets released deuce critically acclaimed albums -- Mirage and Huevos -- in 1987. By the release of Mirage, the Meat Puppets had established themselves as college radiocommunication stars, as advantageously as popular attractions on the American underground electric circuit. Monsters, their concluding record album for SST Records, was released in 1989 and its heavy stone attack foreshadowed the feeler the dance band would embrace in the following decade. The straight sound of Monsters wasn't greeted favorably by the band's cult next, and the record stiffed on college radio.


Following the sapless reception of Monsters, the Meat Puppets skint up. In 1991, they re-formed and sign a major-label deal with London Records. Before they recorded their first album for London, SST issued the compilation No Strings Attached in 1990. The following year, Forbidden Places, the group's major-label debut, appeared in the stores. Forbidden Places was neither a commercial nor underground success.


For two geezerhood subsequently the release of Taboo Places, the Meat Puppets were relatively muted, playing a couple of gigs every once in a while. In 1993, they re-emerged as an opening act on Nirvana's In Utero tour. Toward the goal of the circuit, Nirvana taped an appearance for MTV Unplugged, during which they covered three songs from Meat Puppets II with the Meat Puppets themselves. The exposure on MTV Unplugged helped go under the level for the commercial breakthrough of the band's instant major-label record album, 1994's Excessively High to Die. Released round the same clock time as MTV Unplugged originally airy, Excessively High to Die didn't gather very much attention at offset, only afterward Kurt Cobain's suicide in April, the record and its first single, "Backwater," began to move. This was due to radio's acceptance of "Backwater," but likewise to MTV's invariant airings of Nirvana's MTV Unplugged. By the summer of 1994, "Backwater" was a genuine hit, climb to number two on the album rock charts and simply missing the down Top 40. None of the other singles from Excessively High to Die performed rather as intimately, only the album was a success, becoming the group's first base to go gold. The Meat Puppets released No Joke!, their followup to Too High to Die, in the fall of 1995. However, this record album received average reviews and small airplay, and disappeared from the charts and radio a few months after its tone ending.


Following this blow, the Pups effectively went on hiatus. Derrick Bostrom recorded a one-off EP of goofy, treacly pop covers for the Amarillo tag in 1996 under the name Today's Sounds; he afterward took a job with a multimedia fellowship, besides overseeing both the band's internet site and Rykodisc's 1999 Meat Puppets reissue hunting expedition. Cris Kirkwood, alas, did non menu so well. With the influx of fame and cash, his drug job had worsened during the No Joke! sessions, and in 1995, he matrimonial Michelle Tardif, whose own addictions and run-ins with the law sent things helical kO'd of control. Tragedy smitten in December 1996, when the Kirkwoods' mother died, and over again in August 1998 when Tardif died of a dose o.d.. After virtually disappearing for a unretentive clock time, Cris began to variety out his addictions in rehab programs, and his attendant legal problems in homage. Meanwhile, the band's tag, London Records, was swallowed up by Universal in a corporate mega-merger.


An overloaded Curt Kirkwood had already resettled to Austin, TX, prior to Tardif's death; in that respect he formed a modern outfit dubbed the Royal Neanderthal Orchestra with ex-Pariah members Kyle Ellison (guitar) and Shandon Sahm (drums; too the word of Doug Sahm), plus former Bob Mould bassist Andrew DuPlantis. Eventually, this group took over the Meat Puppets name (although neither Bostrom nor Cris Kirkwood was always officially removed from the batting order). Curt secured a firing from his prior sign and signed with Breaking, an Atlantic foot soldier. Halcyon Lies, the Meat Puppets' first-class honours degree new album in five-spot old age, was released in the come of 2000. Seven long time later, subsequently a drawn-out struggle with substance abuse, Cris Kirkwood reunited with brother Curt and new drummer Ted Marcus for the Anodyne firing Grow to Your Knees.





Bryan Cox

Hey Ray Lewis, Those Hostesses Aren't Free!

NFL star Ray Lewis rarely misses a tackle -- but one company claims he completely wiffed on paying his bill.

Profession Events, LLC. in Arizona is suing Lewis, claiming he never paid for hostesses he hired for a Super Bowl party back in February. The company claims they were promised several times they'd get paid the $5,780 they were owed -- but never did.

Calls to Lewis' agent were not returned.



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Bregovic and Kayah

   
Artist: Bregovic and Kayah

   Genre(s): 
Folk: Balkanian
   

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Discography:


   
 Bregovic and Kayah

   Year: 1999   
Tracks: 10

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Lil' Jon: Big Cup Size

Lil' Jon did what he does best last night -- got all crunk In Vegas and drank from a massive diamond pimp cup at Jet Las Vegas.

Coolio should have joined his buddy at the Crunk Cup Ball. Things could've turned out so much differently.



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Sarah Jessica Parker And Johnny Depp: Life Before 'Sex' (And 'Pirates'), In The Loder Files

Where do old interviews go to die? Since 1988 they've gone into the MTV News vault, but we've been exhuming them to bring you these classic natterings. Here's the latest in the series, which runs every Tuesday.

Last week was a pretty good one for both Johnny Depp and Sarah Jessica Parker. On Sunday, June 1, while he was accepting two statuettes at the MTV Movie Awards (for his performances in "Sweeney Todd" and "Pirates of the Caribbean: At World's End"), her new movie, "Sex and the City," was sweeping Indiana Jones out of the top spot on the national box-office chart.

Whatever celebrating Depp and Parker may have done in the wake of these events was probably done separately. (He has lived for many years in France, while she has remained a New Yorker.) The last time we saw them, though, in the fall of 1994, they were teamed up to promote "Ed Wood," a new Tim Burton movie in which they both featured.

"Ed Wood" was a most unusual Hollywood product: a Disney film, no less, shot in black and white, about "the world's worst director" — the titular Wood, a figure virtually unknown outside the cult of very bad movies. (Burton was reported to have had to work for scale in exchange for getting the picture made and retaining control of it.) Depp played the late filmmaker as a lovable naïf — an iconic combination of great cinematic passion and utter lack of talent. Parker played Wood's girlfriend and sometime lead actress, the formidably stiff Dolores Fuller. Other cast members included Bill Murray, Vincent D'Onofrio (who contributed a striking cameo as Orson Welles), and the late Martin Landau, who won an Academy Award for his touching portrayal of the has-been horror star Bela Lugosi.

"Ed Wood" was a surprisingly buoyant movie. Burton based the picture on Rudolph Grey's very thorough 1991 biography, "Nightmare of Ecstasy"; but in a fond attempt to protect his hero from the sort of ridicule to which he'd been endlessly subjected in life, the director cut the story off before Wood began his 20-year descent into soft-core porn and skid-row squalor.

Burton's movie was a box-office failure, but it remains one of his most moving (and funniest) pictures. He and Depp and Parker have all gone on to much bigger things, of course — and so, in a way, has Ed Wood. Mocked at the time of their release (and for years afterward), Wood's most famously woebegone films — like the 1959 "Plan 9 from Outer Space" and the pioneering 1953 transvestite feature "Glen or Glenda" (with the cross-dressing Wood himself playing the title characters) — are now available in multi-DVD box sets. People are still watching — probably more so now than back in the day. If only Ed himself were here to see it. All is forgiven.

Enjoy digging through The Loder Files? You'll find more here, and there's much more to come from the vaults — check back every Tuesday!

Check out everything we've got on "Ed Wood."

For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com.






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Holy Knights

   
Artist: Holy Knights

   Genre(s): 
Metal: Power
   

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Discography:


   
 A Gate Through The Past

   Year: 2002   
Tracks: 12

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Sattva

   
Artist: Sattva

   Genre(s): 
Other
   

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Discography:


   
 The Essence of Being

   Year:    
Tracks: 7

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Dave Clarke

   
Artist: Dave Clarke

   Genre(s): 
Techno
   

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Discography:


   
 The Storm

   Year: 2000   
Tracks: 1

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Swizz Beatz To Produce Michael Jackson Tour

Error Corrective

   
Artist: Error Corrective

   Genre(s): 
Trance
   

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Discography:


   
 Fade Instinct

   Year:    
Tracks: 9

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The Sopranos - Gandolfini Was Mortuary Jesus

THE SOPRANOS star JAMES GANDOLFINI was nicknamed JESUS after working in a New York City mortuary to research for a movie role - because no one died.

The actor volunteered working night shifts in the city morgue, handling corpses as they arrived from crime scenes and hospitals.

But Gandolfini was left with nothing to do, because his stint coincided with a drought of deaths.

He explains, "They started to call me Jesus Christ because no one would die in New York City."

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