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Neue Musik-DVDs

Erstellt von bamalama, 16.03.2004, 13:05 Uhr · 2.012 Antworten · 217.236 Aufrufe

  1. #531
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    ABC - look of love / the very best of abc (Deluxe Edition) 2 CD & DVD UNIVERSAL 0602498275092 VERÖFFENTLICHUNG: 05.09.2005

    This Deluxe Sound & Vision release of "Look Of Love: The Very Best Of ABC" comprises 30 tracks on 2CDs including all of the hits plus rare 12" mixes and 2 tracks on CD for the very first time. The DVD (PAL format) "Absolutely ABC" includes 14 promotional videos mixed in 5.1.!

    CD 1:

    01. The Look Of Love (Part 1)
    02. All Of My Heart (Edit)
    03. Poison Arrow
    04. When Smokey Sings (Edit)
    05. That Was Then But This Is Now
    06. Tears Are Not Enough
    07. How To Be A Millionaire
    08. The Night You Murdered Love
    09. Peace And Tranquility
    10. One Better World (Edit)
    11. SOS
    12. King Without A Crown
    13. Be Near Me
    14. Ocean Blue
    15. Vanity Kills
    16. Real Thing
    17. Blame

    CD 2:

    01. Tears Are Not Enough
    02. Poison Arrow (Jazz Mix)
    03. The Look Of Love (1990 Remix)
    04. All Of My Heart (Live From Boston)
    05. Be Near Me (Munich Mix)
    06. How To Be A Millionaire (Bond Street Mix)
    07. Vanity Kills (US Remix)08. ABC Megamix
    09. Ocean Blue
    10. When Smokey Sings (12" Version)
    11. Night You Murdered Love (Sheer Chic Mix)
    12. King Without A Crown (Monarchy Mix)
    13. One Better World (Garage Mix)

    DVD:

    01. Poison Arrow
    02. The Look Of Love
    03. All Of My Heart
    04. That Was Then But This Is Now
    05. SOS
    06. How To Be A Millionaire
    07. Be Near Me
    08. Vanity Kills (UK version)
    09. Vanity Kills (US version)
    10. Ocean Blue
    11. When Smokey Sings
    12. The Night You Murdered Love
    13. King Without A Crown
    14. One Better World



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  3. #532
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    VIOLENT FEMMES - permanent record: live & otherwise RHINO RECORDS 970428 VERÖFFENTLICHUNG: 12.07.2005

    The Boat House in Norfolk, Virginia, was perhaps our most frequented venue for a period bordering on two decades. It was blown away in a hurricane a few years back. RIP. The site of many great and weird moments. The gig you are watching was memorable for being 130 degrees Fahrenheit on stage. I know that because they had a thermometer up there. We wanted to record a lot of material, so we slaved away in that furnace for two hours. By the end we were totally drained.

    In den Playlisten der Indie-DJs dieses Planeten hält sich seit 1983 hartnäckig ein Song, der immer noch so verdammt frisch und rotzig klingt, als wären die Jahre nie ins Land gezogen. Die Rede ist von "Blister In The Sun", dem ersten Track des Debüt-Albums der Violent Femmes aus Milwaukee. Der Name leitet sich vom in Milwaukee gängigen Ausdruck 'Femmes' für Weicheier her. Sie sind somit randalierende Weicheier.
    Ihr minimalistischer, mit Folk-Versatzstücken und Country-Sprengseln versehener Sound hat bis heute nichts von seinem Charme verloren. Nicht nur das ist bemerkenswert. Als bislang einzige Band der Welt haben sie den seltsamen Rekord aufgestellt, eine Platinplatte auf der Habenseite verbuchen zu können, die niemals in den Top 200 Billboardcharts der USA aufgetaucht ist ("Violent Femmes").
    Chrissie Hynde, die Frontfrau der Pretenders, fungiert in der Bandgeschichte der Femmes als Geburtshelferin. 1982 hört sie sie auf der Straße vor einem Kino musizieren und engagiert sie vom Fleck weg als Support Act ihrer eigenen Gruppe für den Gig in Wilwaukee. Sänger/Gitarrist Gordon Gano, Bassist Brian Ritchie und Schlagzeuger/Percussionist Victor De Lorenzo sind die Gründungsmitglieder, die sich Anfang der Achtziger etwas unfreiwillig aufmachen, ihre Musik im Verbund mit ihren erstklassigen und satirischen Texten unters Volk zu bringen. Bald nach der Geschichte mit Hynde leiht sich Victor von seinem Vater geschwind 10.000 $, um die Studiokosten zu finanzieren. Das einzige Label, das ihnen einen Deal anbietet - Slash Records - weigert sich nämlich, einen Vorschuss rauszurücken.

    Die Single "Gone Daddy Gone" - ein ähnlicher Brecher wie "Blister In The Sun" verpasst um Haaresbreite den Einstieg in die Charts ihrer Heimat. Besser ergeht es dem zweiten, von Talking Heads-Keyboarder Jerry Harrison produzierten Album "Hallowed Ground", das im Vereinigten Königreich 1984 bis auf Platz 36 vordringen kann. Die Violent Femmes wenden sich hier noch stärker traditionellem Folk zu, wohingegen "Blind Leading The Naked" (1986) ziemlich variabel gestaltet ist und mit einem netten Cover des T-Rex-Songs "Children Of The Revolution" und dem Brüller "Old Mother Reagan" glänzen kann.

    Im Anschluss gehen die Femmes erst einmal getrennte Wege. Gordon Gano nimmt zusammen mit dem Gospel-Projekt The Mercy Seat sein erstes Solo-Album auf, während Brian Ritchie mit gleich mit deren drei aufwarten kann, bevor 1989 mit "3" Neues der Violent Femmes zu berichten gibt. Nach der 93er Compilation "Add It Up (1981-1993)" nimmt Schlagzeug-Virtousenminimalist Victor De Lorenzo seinen Hut und wandelt fortan auf den Solo-Pfaden, die er bereits zwei Jahre zuvor mit "Peter Corey Sent Me" in Angriff genommen hatte. Guy Hoffmann trommelt daraufhin 1994 das erste und gleichzeitig letzte Majorlabel-Album für Elektra ein ("New Times").

    Seinen Schaffensdrang hat das Trio auch im neuen Jahrtausend noch nicht verloren, wie "Freak Magnet" und das nur über das Internet im MP3-Format vertriebene "Something's Wrong" beweist.

    TRACKLISTE:

    - Live At The Boat House, Norfolk, Va (7/21/91)

    01. Look Like That
    02. Out The Window
    03. Fat
    04. Blister In The Sun
    05. Prove My Love
    06. Country Death Song
    07. Old Mother Reagan
    08. Confessions
    09. Girl Trouble
    10. Add It Up
    11. Kiss Off
    12. Good Feeling
    13. More Money Tonight

    - Music Videos

    14. Gone Daddy Gone/I Just Want To Make Love To You
    15. Children Of theiRevolution
    16. I Held Her In My Arms
    17. American Music
    18. Used To Be
    19. Breakin' Up
    20. Machine


  4. #533
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    ABC - look of love / the very best of abc (Deluxe Edition) 2 CD & DVD UNIVERSAL 0602498275092 VERÖFFENTLICHUNG: 05.09.2005

    This Deluxe Sound & Vision release of "Look Of Love: The Very Best Of ABC" comprises 30 tracks on 2CDs including all of the hits plus rare 12" mixes and 2 tracks on CD for the very first time. The DVD (PAL format) "Absolutely ABC" includes 14 promotional videos mixed in 5.1.!


    Welche 2 unveröffentliche Songs sollen den zum ersten mal auf CD sein?

    Ich habe mir im übrigen die Lexicon Of Love DeLuxe-Edition relativ günstig gekauft.

    Von den beiden unveröffentlichten Demo-Songs bin allerdings enttäuscht. Viel enttäuschter bin ich allerdings von dem Live-Konztert Total lahm und die Backgroundsängerin ist grottenschlecht.

    Ich frage mich, wieviel Best Of-/Greatest Hits-/DeLuxe/Remix-/Special- Edition-/Box-/etc.-Veröffentlichungen es von ABC noch geben wird?

  5. #534
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    dingel postete
    Welche 2 unveröffentliche Songs sollen den zum ersten mal auf CD sein?
    da hat man wohl den text von 2001 (erstveröffentlichung der CD look of love / the very best of abc) übernommen - damals waren peace and tranquility und blame tatsächlich noch neu.

  6. #535
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    ALISON MOYET - one blue voice SANCTUARY SVEF0097 VERÖFFENTLICHUNG: 26.09.2005

    Celebrating the success of the Top-Ten Gold selling album, 'Voice', Alison Moyet has for the first time ever recorded a unique version of her sell out 'One Blue Voice' UK live concert tour.

    The concert was filmed on June 6th 2005 in front of a specially invited audience at The Hospital in Covent Garden, London. "One Blue Voice" Moyet's first ever 'live' DVD, will be released by Sanctuary Visual Entertainment on 26th September 2005.

    Performing with an eight-piece band including a string quartet, the material includes tracks from Moyet's album 'Voice', and songs from the acclaimed Brit nominated CD, 'Hometime'.

    The concert set-list, which showcases Moyet's natural vocal strength and ability, includes Michel Legrand's "Windmills Of Your Mind" and the Elvis Costello composition "Almost Blue", "Wraggle Taggle Gypsies-O!" and "Dido's Lament" from 'Voice'.

    Moyet compositions include "Mary Don't Keep Me Waiting", "You Don't Have To Go", "This House" and "If You Don't Come Back To Me" among many others. The capacity to present this exclusive concert in both Stereo and 5.1 Surround Sound, allows fans of Moyet to enjoy this intimate performance in the comfort of their own home.

    Bonus tracks "Should I Feel That It's Over", "Alfie", "Only You" and "That Old Devil Called Love" are included within the DVD extras along with an exclusive interview and photo gallery.

    This DVD captures an exceptional talent on spectacular form. Superbly stylized and beautifully lit, Moyet proves without doubt that she still has the depth and purity to her voice millions of fans world-wide have come to adore.

    BIOGRAPHY:

    She's been a card-carrying punk, a blues shouter, and a dance-floor diva. She's taken one of the most expressive voices heard in pop music in many a year and used it to vividly depict the depths of despair and the celestial joys of love. In short, Alison Moyet revered singer/songwriter, has again and again pushed the limits of pop music ... and she's not about to stand still.

    Born in Billericay, Es5ex, Alison grew up in Basildon and left school at sixteen largely unqualified. She spent time as a shop worker before embarking on a piano tuning course which she had to abort in the second year as the single, Only You, became a worldwide hit. This new found fame was alongside electronic innovator, Vince Clarke in the band Yazoo. Together, they redefined dance music, merging the cold soundscapes of synthesized music with sweet soul music. However, after two albums, and a Brit Award for Best New Band, it was time for Alison to move on.

    Her subsequent solo debut, Alf, spawned three UK Top 10 hits and between 1984 and 1987 she toured extensively, won two Brit Awards and performed at Wembley Stadium for Live Aid in 1985. In 1987, Alison released Raindancing, an album that won her a third Brit Award and brought her to America for the first time as a solo performer. It was a time of great commercial success, but Alison wasn't about to sacrifice her penchant for musical risk taking.

    Following a sabbatical, to pull back a career that was moving faster than she was, Alison sequestered herself in the studio for an extended period emerging with the highly acclaimed Hoodoo, a back-to-basics collection that saw her return to raw rock roots on several tracks, while dipping into deep soul music mixed with a Pentecostal fervour on others. Following the release of Hoodoo in the USA Alison was nominated for a prestigious Grammy award for Best Female Rock Vocal Performance. The follow up album, Es5ex, saw her continue the themes explored in Hoodoo and left her fans all impatient for more.

    Singles, her 'collections' CD, entered the UK album chart at No.1, and clearly demonstrated just why she is one of Britain's finest recording artists. This was reinforced, following yet another sold out tour of the UK (including three nights at the Royal Albert Hall), when the Singles album was repackaged along with a bonus live CD (No Overdubs) and re-entered the Top 20.

    Towards the end of 2001 Alison made her stage debut in the West End hit musical Chicago playing the role of Matron 'Mama' Morton to critical acclaim: "…the packed auditorium saluted Ms Moyet with a deafening cacophony… (she) stole the show" - Evening Standard. Alison stayed with the show for six months.

    August 2002 saw the release of her first studio album in over eight years. Entitled 'Hometime', the album was released to critical acclaim and within the first ten weeks of release topped 100,000 sales, catapulted Alison into the Top 5 Best Selling Female UK Artists of 2002 and was nominated for Best Female Vocal at the 2003 BRIT Awards. To coincide with the release of 'Hometime' Alison embarked on a UK tour, her first in several years, playing to capacity audiences across the country and again garnering laudatory reviews.

    Her career in the UK is recognised by three BRIT Awards, nine top ten singles and seven top ten albums, including three number ones. Her worldwide record sales exceed 20 million records.

    Alison's new album 'Voice', produced and arranged by Academy Award winner Anne Dudley, was released on September 6th 2004, entered the UK charts at No.7 and was soon certified gold. Alison kicked off 2005 by announcing a UK tour entitled 'One Blue Voice' which went on to sell out.

    Alison recently narrated 'Behind The Glass - The Phil Ramone Story' for BBC 2 and continues to work on a theatre project with Dawn French for 2006.

    TRACKLISTING:

    01. Satellite
    02. Mary Don't Keep Me Waiting
    03. Windmills Of Your Mind
    04. What Are You Doing The Rest Of Your Life
    05. La Chanson Des Vieux Amants
    06. Almost Blue
    07. If You Don't Come Back To Me
    08. Cry Me A River
    09. Wraggle Taggle Gypsies
    10. God Give Me Strength
    11. Dido's Lament
    12. Momma Momma
    13. Ski
    14. This House
    15. You Don't Have To Go

    SPECIAL FEATURES:

    4 Bonus Tracks:

    - Alfie
    - Only You
    - That Old Devil Called Love
    - Should I Feel That It's Over

    - Alison Moyet 'Voice' interview, featuring performance extracts of:
    Windmills Of Your Mind
    Almost Blue
    What Are You Doing The Rest Of Your Life
    Cry Me A River

    - "More" Promotional Video

    - Photo Gallery


  7. #536
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    GIRLSCHOOL - live from london IGUANAPROJECT IPDVD002
    VERÖFFENTLICHUNG: 05.09.2005

    At the time of filming this performance at the Camden Palace in December 1984 the band were still recording their new album Running Wild and this performance includes the songs Nowhere To Run, Can't You See, Love Is A Lie and Running Wild all of which would appear some six months later on Running Wild. Also included here are key songs from the bands' back catalogue including C'mon Let's Go, Play Dirty, Hit n' Run and Emergency.

    Tracklisting:

    01. Live From London
    02. C'Mon Let's Go
    03. Nowhere to Run
    04. You Got Me /
    05. Play Dirty
    06. Love is a Lie
    07. Hit and Run
    08. Out to Get You
    09. Rock Me Shock Me
    10. Can't You See
    11. Running Wild
    12. I Like It Like That
    13. Ready To Rock
    14. Emergency 999


  8. #537
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    SPEAR OF DESTINY - in concert / do you believe in westworld? 2 CD & DVD RECALL / SECRET RECORDS SBOX014 VERÖFFENTLICHUNG: 15.08.2005

    Let’s face it – in nowhere but Britain could a band like Spear of Destiny have surfaced and survived. In that broad grey twilight which spans UK rock’s no man’s land between all-out pop glamour and the blood and iron hues of Gothdom and Metal, a thousand dark and different ideas have found a musical voice during the 20th century’s last two decades. When we think of Spear of Destiny we think of imagery. It is encapsulated in the angular, European visage of the band’s leader, Kirk Brandon.
    Their album covers, with their Cyrillic graphics and strong, propaganda art styles, hark back to another time. As the pop world around them shifted and changed between sequins and make-up, strange trousers and rolled-up jacket sleeves, S.O.D. dared to be different with a music, lyrical approach and a look which crow-barred its way into your consciousness with a Spartan strength, courting controversy along the way.
    Spear of Destiny have their roots where so much of today’s good popular music was germinated – the punk explosion. They began back in 1978, even before the Iron Lady had ascended her regal throne, then known as The Pack, knee deep in the chaotic period of punk anarchy. The line up then was Kirk Brandon, with guitarists Jon and Simon Werner, from Canada, and Scottish drummer Rath Fae Beith. Their aggressive stand and lyrical approach represented the world they lived in at that time; they were young men, struggling in the squats of South London in a grim period of political history which only promised worse to come. The Pack ended their short, vibrant career as they had begun, in Clapham, and although their last gig at the 101 Club had been a complete sell-out, the record industry had avoided them like the plague.
    And so was born the new line-up, uncompromisingly titled Theatre of Hate. Music journos around Europe never quite knew what to make of it all. What were TOH about? What was all this revolutionary imagery, and why were fans from Sheffield to Stuttgart hanging on this band’s every word? Perhaps there was something in the band’s name which the cynical music press could get a handle on, yet try as they may, no-one managed to fit Kirk’s hard-working outfit into a musical pigeon hole. They were huge in Scandinavia, and during the three years of TOH’s existence, they played a storming 400 gigs, with albums He Who Dares Wins (1981, produced by The Clash’s Mick Jones), hitting number 15 in the NME charts in April 1981, with Westworld doing the same in April 81 and Revolution entering the top 40 in August 1984. By this time Kirk Brandon had become a pop icon throughout Europe, where his face could be seen on the cover of magazines throughout the continent.
    Yet as the Theatre of Hate project waned, its leader, along with bassist Stan Stammers, was about to surprise the music world yet again with his next undertaking. This time the pop pundits would have something to get their teeth into – yet they still failed to identify the flavour.
    Spear of Destiny fans need no educating as to the origin of the band’s name. But for the uninitiated, it goes like this.
    The history of Christianity tells us that as Jesus was dying on the cross, one of the Roman centurions by the name of Longinus, ( a German) who was on duty at the scene, plunged his spear into Christ’s side. The spear became a religious artefact possessing all the mythical magic of the Grail itself, and over the centuries has been rumoured to have changed hands among the many European and eastern kings and emperors. The legend which has built up around the ‘Spear of Destiny’ – that he who owns it has the power of good or evil - largely came from a best-selling book of the same name by the late Trevor Ravenscroft, in which he tells us that when Hitler conquered Austria he purloined the spear (yes, it does exist) from a museum, the Hofburg, and took it to Nuremburg. The next man to get his hands on it was the US Army’s Gerneral Patton, shortly before Hitler’s suicide. The artefact is now back in the Hofburg.
    That’s the end of the history lesson – except that Kirk Brandon did have a very interesting meeting with Spear of Destiny author Trevor Ravenscroft before his death. It needs no stretch of the imagination to realise that the quasi-intellectual scribes of the early UK 80s music scene were going to have a field day with this. Yet to Kirk Brandon and his legions of fans, the combined forces of hackery were water off a duck’s back. Spear Of Destiny forged on and built strongly on Theatre of Hate’s brush with success. The early recordings, on the SS label (which became Burning Rome), did well, and by April 1983 SOD had signed to Epic and their album, The Grapes of Wrath slammed straight into the album charts at number 23 on the last day of the month. TOH had been the messengers; Spear of Destiny were the message, and that message was success. For the next four years they would repeat the achievement. For a couple of months, April and May 1984, their album, One Eyed Jacks, its title taken from a 1961 Marlon Brando movie, lodged firmly in the charts to rub shoulders with the likes of Rush and the Eurythmics. This unstoppable rhythm continued in the autumn of 1985 when the album World Service beat the previous release by this time getting into the NME top five. Although there was a two year break, May 1987 saw not one but two Spear of Destiny albums bouncing into the best sellers. First came a compilation, S.O.D. – The Epic Years, which entered the chart in the lower end of the top fifty and then climbed steadily, to be followed shortly by the highly successful Outland, which sold steadily for weeks alongside The Epic Years. However, in the midst of this success Kirk was suddenly diagnosed with a rare blood disorder. As he recalls; “After all that hard slog and progress, it was a real knock-back. It also meant cancelling our appearance at the Reading Festival”. Yet there were still records to release. By now the band were on the Virgin label, and The Price You Pay saw them back on the chart yet again in October 1988. They had already got their act over to a lot of new fans back in 1987 when they supported U2 at a crowded Wembley Stadium, which was followed by a sell-out concert at the Hammersmith Odeon.
    Throughout all this varied album success SOD’s accomplishment in the singles market was every bit as impressive. It began with The Wheel in June 1983 and peaked after ten chart singles with So In Love With You in 1988. So with five hit albums and ten hit singles in the space of less than half a decade, Spear Of Destiny had achieved more than enough to guarantee their place in British and European pop history.
    Today Kirk Brandon’s life is as creative and busy as ever. Throughout the 1990’s and into the new millennium the band’s live output has made for a clutch of fine CDs and their studio work continues to reach more mature, artistic heights. Recent albums such as 1997’s Religion and Volunteers in 2000 have further enhanced their strong reputation. Perhaps the secret is that Spear Of Destiny are not a ‘band of their time’; like most creative acts they continue to develop, not only keeping their old fans but regularly adding new blood to an army of SOD enthusiasts. As to what Kirk Brandon has up his capacious sleeve for us next is anyone’s guess – so watch this space!

    CD 1:

    - Live At The Forum 1988

    01. Dreamtime
    02. Tinsletown
    03. Once In Her Lifetime
    04. Radio Radio
    05. Young Men
    06. Soldier Soldier
    07. Pumpkin Man
    08. Never Take Me Alive
    09. The Price
    10. Land Of Shame
    11. (Do You Believe) In The Westworld ?
    12. Mickey
    13. Liberator

    CD 2:

    - Live On Tour 1997

    01. Mile In My Shoes
    02. Prison Planet
    03. Land Of Shame
    04. Omen Of The Times
    05. X
    06. Communication Ends
    07. Never Take Me Alive
    08. Rainy Day
    09. Futureworld
    10. Brave New Soldiers
    11. Slayride
    12. Liberator
    13. Rainmaker
    14. Soldier Soldier

    DVD:

    - Exclusive Interview with Kirk Brandon, duration 48 mins approx.



  9. #538
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    die BAD BOYS BLUE-DVD ist am freitag erschienen - ich habe mein exemplar gestern in ESSEN (hallo SONNYB... ) gekauft, für nur € 9.99.

    hier ist die korrekte trackliste:

    BAD BOYS BLUE - 1985 - 2005 / video collection COCONUT / EDEL EDE162178 VERÖFFENTLICHUNG: 29.07.2005

    01. You're A Woman
    02. Pretty Young Girl
    03. Love Really Hurts Without You
    04. I Wanna Hear Your Heartbeat
    05. Kisses And Tears
    06. Come Back And Stay
    07. Don't Walk Away Suzanne
    08. Lovers In The Sand
    09. A World Without You
    10. Hungry For Love
    11. A Train To Nowhere
    12. How I Need You
    13. Queen Of Hearts
    14. Save Your Love
    15. You´re A Woman ´98
    16. The Turbo Megamix ´98

    SPECIAL FEATURES:

    - Lyrics With Soundtracks

    [/quote]

  10. #539
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    THE FALL - rebellious jukebox 2 CD & DVD RECALL SBOX015 VERÖFFENTLICHUNG: 15.08.2005

    Mark E. Smith ist wohl einer der exzessivsten singenden Biertrinker der britischen Punkszene. Seit Ende der 70er Jahre hält er sich gemeinsam mit seiner ständig wechselnden Formation The Fall über Wasser und gehört zu den wenigen, die bis heute durchgehalten haben. Trotz heftiger Kritik und dem ausbleibenden Status am kommerziellen Pophimmel, hört und sieht man Mark E. Smith auch heute noch auf Platte und öffentlichen Bühnen.
    Mark Edward Smith, der Mann, der mit seinem eigenwilligen Gesang und Zynismus in die Musikgeschichte eingehen wird, erblickt die graue Landschaft seiner Heimatstadt Salford, Manchester am 05.03.1957. In den Docks seiner Geburtsstadt arbeitet er zunächst und nebenbei versucht er verzweifelt Bands mit verschiedenen Musikern aus der Heavy Metal Szene zu gründen. Leider vergeblich. Mark E. mag auch gar nicht diese Art von Musik. Viel mehr liebt er den experimentellen Rock'n'Roll von Velvet Underground und den kunstvollen Rock von Can.
    1977 findet Smith in Manchester endlich Musiker, die seinen Geschmack teilen. Zusammen mit Martin Bramah (Gitarre), Tony Friel (Bass), Una Baines (Piano) und Karl Burns (Schlagzeug) gründet er die Gruppe The Fall (benannt nach "Der Fall" von Albert Camus). Die erste EP "Bingo Master's Breakout" nehmen sie auf dem Label "New Hormones" der Punkrocker "Buzzcock's" auf. Doch leider bleibt dieses Schmuckstück über ein Jahr unveröffentlicht, da niemand The Fall einen Vertrag anbietet. Den Außenseiterstatus haben sie von Anfang an. Sie wollen sich in keine Schublade zwängen. Sie passen sich weder der gestylten New Wave-Szene an noch den wilden, amateurhaften Punkrockern.

    Allmählich wächst die Fangemeinschaft. Frontmann Mark E. Smith beeindruckt durch seine nuschelnden Sprechgesang und seinen bitterbösen Lyrics. Danny Baker, Gründer des Adrenaline-Fanzine, ist einer der ersten Fans, die auf Smith und seine Band zugehen. Er überzeugt Miles Copeland, den Bruder des Police - Schlagzeugers Steward Copeland, die EP "Bingo Master's Breakout" auf seinem unabhängigen Label Step Forward (welches er zusammen mit Mark Perry von der Gruppe Alternative TV betreibt) zu veröffentlichen.

    The Fall sind bekannt für ihre ständig wechselnden Musiker. Verantwortlich dafür ist Mark E. Smith. Er versucht durch die Fluktuation der Bandmitglieder dem Sound von The Fall zu erweitern und experimenteller zu gestalten. Den ersten Rauswurf verbucht er 1978. Der Bassist Tony Friel geht und dafür kommen Marc Riley (Bass, Gitarre, Keyboard) und Yvonne Pawlett (Keyboard). In nur zwei Tagen wird 1979 mit dieser Besetzung das erste Album "Live At The Witch Trials" aufgenommen.

    Von nun an gehen The Fall ständig auf Konzertreise. Sie nehmen alles mit, Kneipen, Weihnachtsfeste von diversen Supermärkten, Veranstaltungen in Arbeiterclubs. Die Aufmerksamkeit wächst und sogar Radio1-DJ John Peel wird auf die Briten aufmerksam. The Fall werden zu einigen Studio-Sessions eingeladen und die Fangemeinschaft wächst.

    Erneute Fluktuation in der Band. Diesmal müssen Pawlett, Bramah und Burns The Fall verlassen. Kurz vor Beginn zu den Aufnahmen der zweiten Platte. Die Neulinge Graig Scanlon (Gitarre) und Steve Hanley (Bass) bleiben allerdings Stammgäste bei Mark E. und begleiten seine gesamte musikalische Laufbahn. Ende 1979 erscheint "Dragnet". Mit Psykick Dancehall entsteht eine Manchester-Version des Rockabilly, der "Mancabilly", der bei The Fall noch häufiger zu hören sein wird.

    1980 unterschreiben The Fall bei "Rough Trade". Auf diesem Label erscheinen zum Beispiel "Grotesque (After The Gramme") und einige, gern gehörte Singles, wie "Totally Wired", eine Hymne auf die Punk-Droge Speed. Das Album "Hex Enducation Hour" ist wohl die am erfolgreichsten kommentierte Platte der Manchester Punks. Sie wird 1982 teilweise in Reykjavik in Island aufgenommen. Allerdings nicht bei Rough Trade, da es zu Komplikationen zwischen Band und Label kommt. "Kamera Records" nimmt sich dieser Platte an und auch das folgende, für weniger gut befundene Album "Room To Live" erscheint auf diesem Label.

    Kay Carroll, eine ehemalige Psychiatrieschwester ist Managerin, Sängerin und Percussionistin bei The Fall. Gelegentlich auch mal Smiths bessere Hälfte. 1983 verabschiedet sie sich von der Band und sucht ihr Glück in Amerika. Schon einige Monate später trifft Mark E. die Bassistin Brix auf einer Amerika Tour. Die beiden heiraten einige Zeit später und das Ex-Mitglied der Gruppen The Rage und Burden Of Proof spielt nun die zweite Gitarre für The Fall. Ein großer Wendepunkt in der Karriere der Manchester Band. 1983 erscheint mit ihr "Perverted By Language". Brix bringt frischen Wind und eine gehörige Portion melodischen Pop in die Band mit ein. Dies hört man 1984 sehr deutlich auf "The Wonderful And Frightening World Of The Fall", das auf "Beggars Banquet" (Charlatans, Tindersticks erscheint.

    1986 gibt es dann sogar unerwartete Positionierungen in den britischen Charts, denn mit der Coverversion "Mr. Pharmacist" der 60ies Band "The Other Half" kreieren The Fall einen kleinen Hit. 1987 gelingt ihnen mit "Hit The North" ein Platz in der Top 40. 1988 lassen sich Brix und Mark E. scheiden. Sie verlässt die Band. Das Folgealbum, 1990, "Extricate" kehrt zum düsteren Sound von The Fall zurück. 1991 erscheint "Shift Work" mit Dave Bush an den Keyboards, der später auch Mitglied bei Elastica sein wird.

    Ab 1993 bis 1995 unterschreiben The Fall einen amerikanischen Plattenvertrag bei Matador Records. Doch die Alben "The Infotainment Scan" und "Middle-Class Revolt" verkaufen sich, trotz positiver Presse, nicht sehr gut in Amiland. Kein Grund zur Trauer. In England begeistern The Fall weiterhin ihre Fans, auch mit diesen amerikanischem Importen.

    Die Folgejahre werfen einige Schatten über die Band, vor allem über Frontmann Mark E. Sein Alkoholgenuss zeigt sich überdeutlich in seiner Musik und bringt ihm negative Schlagzeilen, u.a. soll er seine Freundin Julia Nagle, die mittlerweile auch bei The Fall mitspielt, mehrmals geprügelt haben. Schlägereien auf der Bühne gehören zum Standard. Jedoch prügelt man sich nicht mit dem Publikum, sondern gegenseitig. Bald verlassen einige Bandmitglieder The Fall und das Gericht verordnet Smith eine Therapie gegen sein Alkoholproblem. Die Fans reagieren mit Kopfschütteln. Erst 1999 kommt es zu neuen Studioaufnahmen. "The Marshall Suite" wird mit neuer Formation veröffentlicht.

    Auch im neuen Jahrtausend ist und bleibt Mark E. Smith Kultfigur der Indie- und Alternative-Szene. 2000 erscheint "The Unutterable". Damit scheinen The Fall zu ihrer alten Form zurückzukehren. Mit neuer Freundin und erfolgreicher Europa-Tour hat Mark E. sein Alkoholproblem wohl im Griff. Doch wird er der ewige Rebell bleiben, wie er auch durch sein aktuelles Album "Are You A Missing Winner" beweist.

    CD 1:

    01. Frightened
    02. Rebellious Jukebox
    03. Underground Medicine
    04. Before The Moon
    05. Your Heart Out
    06. Muzoweri's Daughter
    07. Flats Of Angles
    08. Spectre vs Rector
    09. The Classical
    10. Jawbone And The Air Rifle
    11. Hip Priest
    12. Winter
    13. Who Makes The Nazis?
    14. Hard Life In The Country
    15. Solictor In The Studio

    CD 2:

    01. Prole Art Threat
    02. Totally Wired
    03. Pay Your Rates
    04. An Old Lover
    05. Kicker Conspiracy
    06. Sing Harpy
    07. Bill Is Dead
    08. Black Monk Theme Part 1
    09. Black Monk Theme Part 2
    10. And Therein
    11. Extricate
    12. The Bourgeous Blues
    13. Gotta See Jane
    14. Ibis Afroman
    15. The Acute

    DVD:

    - Exclusive Interview with Mark E Smith



  11. #540
    Benutzerbild von bamalama

    Registriert seit
    28.03.2002
    Beiträge
    18.467
    THE PIRATES - live at dingwalls / STRAY CATS - this country´s rockin´ QUANTUMLEAP MDV100 VERÖFFENTLICHUNG: 25.07.2005

    The Pirates Live At Dingwells:


    By the mid-1970's the Pirates were, without doubt, the most popular act on the club circuit in the UK with their reputation rapidly spreading throughout Europe and Scandinavia. However the band first came to promience as a backing group to the late, great Johnny Kidd with whom they enjoyed a total of nine chart singles. Their re-emergence as a power rock/rhythm and blues trio took thr live circuit by storm and their two albums 'Out of Their Skulls' and ' Skull Wars' received outstanding critical reviews. This DVD captures the band delivering the goods in their natural habitat with no holds barred.

    Tracklisting:

    01. I Can Tell
    02. Gibson, Martin, Fender
    03. Shakin' All Over
    04. You Don't Own Me
    05. Lonesome Train
    06. Talking About You

    Stray Cats: This Country's Rockin:

    The Stray Cats filmed live at the 'This Country's Rockin' open-air festival.

    Tracklisting:

    01. Baby Blue Eyes
    02. Rumble In Brighton
    03. Nine Lives
    04. Summertime Blues
    05. Stray Cat Strut
    06. Rock This Town


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