Rock Band Draft - Round 6 (Wrap Up)
- Thread starter Kingzrool
- Start date
dukeswh
Bench
ditto.
SacKings7
Starter
+2. Like I said, I have my name narrowed down to 2....and that's it
.
NoBonus
Starter
ARg, my bad... you guys can have the name if anyone really wants it...
Kingzrool
Starter
At some point I'll add the band name with a link to the write up.
KingsFaithful is up. pm sent.
bozzwell
Starter
Grand Theft Cardio
From Wikipedia write up in the year 2062:
Grand Theft Cardio is a controversial Anglo-American alternative rock band formed in 2058. The band is composed of the clones of historical musicians John Lennon (lead vocals, rhythm guitar), Stephen Morris (drums, sequencers), Flea (bass), Ray Manzarek (keyboards, backing vocals) and Johnny Marr (solo guitar, backing vocals). The band has created Worldwide controversy due to the use of human clones for what was originally intended as commercial purposes in direct violation of “Human Cloning, Bridges to Nowhere and Price Controls of Chewing Gum Derivatives Act of 2036” which was first signed into law by President Jenna Bush in 2037.
Band has survived numerous legal challenges under this law as the law was intended to limit human cloning activities and prevent cloning-for-profit. However, since all 5 members have successfully sued their creators (Sony BMG, Universal, Warner and Emi) and have been released unconditionally from their contracts which required them to perform only with other clones from their original bands (The Beatles, The Doors, Red Hot Chili Peppers, The Smiths and Joy Division) the band has been able to enjoy extremely successful career and be the first independent, alternative rock band to crossover to mainstream in more then 50 years.
The band is renowned for their signature sound and electrifying live performances that rely heavily on Morris’s drum sequences triggered by his playing of acoustic drum set, Flea’s energetic and improvisational bass lines, unique vocals of John Lennon, Manzarek’s dissonant keyboard parts all tied together by Marr’s understated yet masterful solo guitar. Their sound has been compared to “Classic Beatles songs, rewritten and rearranged by Radiohead and performed in Modest Mouse style” by some very old dude on pitchforkmedia. It is not known whether he was trolling or if he really had a good point.
From Wikipedia write up in the year 2062:
Grand Theft Cardio is a controversial Anglo-American alternative rock band formed in 2058. The band is composed of the clones of historical musicians John Lennon (lead vocals, rhythm guitar), Stephen Morris (drums, sequencers), Flea (bass), Ray Manzarek (keyboards, backing vocals) and Johnny Marr (solo guitar, backing vocals). The band has created Worldwide controversy due to the use of human clones for what was originally intended as commercial purposes in direct violation of “Human Cloning, Bridges to Nowhere and Price Controls of Chewing Gum Derivatives Act of 2036” which was first signed into law by President Jenna Bush in 2037.
Band has survived numerous legal challenges under this law as the law was intended to limit human cloning activities and prevent cloning-for-profit. However, since all 5 members have successfully sued their creators (Sony BMG, Universal, Warner and Emi) and have been released unconditionally from their contracts which required them to perform only with other clones from their original bands (The Beatles, The Doors, Red Hot Chili Peppers, The Smiths and Joy Division) the band has been able to enjoy extremely successful career and be the first independent, alternative rock band to crossover to mainstream in more then 50 years.
The band is renowned for their signature sound and electrifying live performances that rely heavily on Morris’s drum sequences triggered by his playing of acoustic drum set, Flea’s energetic and improvisational bass lines, unique vocals of John Lennon, Manzarek’s dissonant keyboard parts all tied together by Marr’s understated yet masterful solo guitar. Their sound has been compared to “Classic Beatles songs, rewritten and rearranged by Radiohead and performed in Modest Mouse style” by some very old dude on pitchforkmedia. It is not known whether he was trolling or if he really had a good point.
bozzwell
Starter
Live Review: Grand Theft Cardio
By Natt LeNay, pitchforkmedia.com
September 23, 2062 New Arco Arena, Wichita, Kansastan via iLive real time VR. I’ve never been the one to crash the lines and get in on iLive music shows in real-time. We all know that most people are not able to properly respond to others and social queues anymore and how mortifying it can be to discover that an Avatar next to you is “driven” by a real person instead of an algorithm. So, when my editor-in-chief asked me to iLive into the Grand Theft Cardio’s first live show of the year – in _real_ time, as in with other 80.000 real-people Avatars you can understand the dread and shock I felt. Flashback in my mind was of the occasion when I had to use public restrooms at O’Hare TravelHub in Chicago and I ran into my brother. We almost shook hands right then and there before we both recoiled realizing what we were about to do. I’ll give you a hint – there is no VR Presence Access Points in public restrooms!
My first impression on entering the arena via my new MacVR Pro (which I must say is the best one yet, so elite that I could never afford it myself if I wasn’t pitchforkmedia contributor which entitles me to cool free stuff despite the fact that I have no idea what I am writing about) was that it is exactly the same as if I was replaying it on demand. Avatars of other people were mingling around and mostly leaving me alone – which is good. You could purchase tour t-shirts which then auto magically get delivered to the address where your VR presence access point is registered to (so be careful if you are using your friend’s or partners VR PAP and use your RFID to override it).
Once the show got underway, nothing was the same, not even close. Absolutely nothing in my experience (both real or VR) could prepare me for this. Lets’ take a step back and I’ll try to explain: Sure, we’ve all been exposed to the art and entertainment produced by the clones. It’s been very hit and miss, while most people have enjoyed Beethoven and Britney Spears clones’ covers of Eurhythmics, cloning of Stanly Kubrick by Warner really backfired with his X-rated, art-house flop Deep Throat Reimagined: My Gaze Into Distance Is Not Real. The reason for that is simple. While the clones are genetically identical to the historic people from whose DNA they have been created, they grew up in a different world, usually 100+ years removed from the era in which their originals developed as human beings and artists. Yes, they still have same ability and talents, but there is no guarantee that what they create today will be in any way even similar to the opus of the originals. In case of Grand Theft Cardio, that’s really a good thing. Make that a great thing.
Yes, Lennon still sounds like Lennon of the 20th century, but there is an unmistakably fresh perspective evocative only of his more dense later work with Beatles and his solo career in original.
Johnny Marr is still Johnny Marr, weaving his guitar parts in an out, minimalist as ever, excelling in allowing others to excel by contributing to the bigger sound of the band rather then making himself sound bigger.
On keyboards, Ray Manzarek, who in the original played keys with his right hand and bass lines with his left, employs same technique to play up to two keyboard/synth parts at once, sometimes in harmony and other times to create sonic dissonances of a perfect jam session without ever crossing over completely into jazzy self-indulgence.
Meanwhile, on acoustic drums, Stephen Morris plays basic drum parts with robotic precision and repetitiveness while studio-style drum triggers are activated by his beats to provide timing/click information to sequencers (op. ed. - we’ve been assured that all sequences are Morris’s’ originals). In unison the two drum beats act as both a perfect metronome to an extremely tight group of performers and as a kind of showcase of a percussionist whose imagination and creativity exceeds his, and indeed any human’s, abilities.
It seems that only Flea, on bass, is a completely true throwback to his original – forever coming up with new and creative ways to augment rhythm section with innovative bass parts accompanied by the most animated stage presence you are ever likely to see.
And it all comes together during the show, spectacularly so, song after song performance evolves and grows, with fresh twists on catchy, hook filled tunes, loud-soft-loud numbers that don’t seek to pander to the middle-of-the-road fan but to explore new sounds in familiar formats, denser, more layered pieces that demand full attention of the listener without ever being impenetrable or God forbid – pretentious. Then within a beat, the performance will change-up on you, taking darker mood, more somber tone and an avant-garde approach, seemingly threatening to fall apart at seams as Grand Theft Cardio deliberately flirts with the potential disaster before pulling back from the edge – as if to test you if you’re paying attention to every beat and every note.
The Sound of Grand Theft Cardio can only be referenced to and properly explained by its foundation: 1 part John Lennon, its front man, its undisputed leader and charismatic singularity and 1 part obscure indie rock influences from late 20th to early 21st century. Like classic Beatles songs, rewritten and rearranged by Radiohead and performed in Modest Mouse style.
By Natt LeNay, pitchforkmedia.com
September 23, 2062 New Arco Arena, Wichita, Kansastan via iLive real time VR. I’ve never been the one to crash the lines and get in on iLive music shows in real-time. We all know that most people are not able to properly respond to others and social queues anymore and how mortifying it can be to discover that an Avatar next to you is “driven” by a real person instead of an algorithm. So, when my editor-in-chief asked me to iLive into the Grand Theft Cardio’s first live show of the year – in _real_ time, as in with other 80.000 real-people Avatars you can understand the dread and shock I felt. Flashback in my mind was of the occasion when I had to use public restrooms at O’Hare TravelHub in Chicago and I ran into my brother. We almost shook hands right then and there before we both recoiled realizing what we were about to do. I’ll give you a hint – there is no VR Presence Access Points in public restrooms!
My first impression on entering the arena via my new MacVR Pro (which I must say is the best one yet, so elite that I could never afford it myself if I wasn’t pitchforkmedia contributor which entitles me to cool free stuff despite the fact that I have no idea what I am writing about) was that it is exactly the same as if I was replaying it on demand. Avatars of other people were mingling around and mostly leaving me alone – which is good. You could purchase tour t-shirts which then auto magically get delivered to the address where your VR presence access point is registered to (so be careful if you are using your friend’s or partners VR PAP and use your RFID to override it).
Once the show got underway, nothing was the same, not even close. Absolutely nothing in my experience (both real or VR) could prepare me for this. Lets’ take a step back and I’ll try to explain: Sure, we’ve all been exposed to the art and entertainment produced by the clones. It’s been very hit and miss, while most people have enjoyed Beethoven and Britney Spears clones’ covers of Eurhythmics, cloning of Stanly Kubrick by Warner really backfired with his X-rated, art-house flop Deep Throat Reimagined: My Gaze Into Distance Is Not Real. The reason for that is simple. While the clones are genetically identical to the historic people from whose DNA they have been created, they grew up in a different world, usually 100+ years removed from the era in which their originals developed as human beings and artists. Yes, they still have same ability and talents, but there is no guarantee that what they create today will be in any way even similar to the opus of the originals. In case of Grand Theft Cardio, that’s really a good thing. Make that a great thing.
Yes, Lennon still sounds like Lennon of the 20th century, but there is an unmistakably fresh perspective evocative only of his more dense later work with Beatles and his solo career in original.
Johnny Marr is still Johnny Marr, weaving his guitar parts in an out, minimalist as ever, excelling in allowing others to excel by contributing to the bigger sound of the band rather then making himself sound bigger.
On keyboards, Ray Manzarek, who in the original played keys with his right hand and bass lines with his left, employs same technique to play up to two keyboard/synth parts at once, sometimes in harmony and other times to create sonic dissonances of a perfect jam session without ever crossing over completely into jazzy self-indulgence.
Meanwhile, on acoustic drums, Stephen Morris plays basic drum parts with robotic precision and repetitiveness while studio-style drum triggers are activated by his beats to provide timing/click information to sequencers (op. ed. - we’ve been assured that all sequences are Morris’s’ originals). In unison the two drum beats act as both a perfect metronome to an extremely tight group of performers and as a kind of showcase of a percussionist whose imagination and creativity exceeds his, and indeed any human’s, abilities.
It seems that only Flea, on bass, is a completely true throwback to his original – forever coming up with new and creative ways to augment rhythm section with innovative bass parts accompanied by the most animated stage presence you are ever likely to see.
And it all comes together during the show, spectacularly so, song after song performance evolves and grows, with fresh twists on catchy, hook filled tunes, loud-soft-loud numbers that don’t seek to pander to the middle-of-the-road fan but to explore new sounds in familiar formats, denser, more layered pieces that demand full attention of the listener without ever being impenetrable or God forbid – pretentious. Then within a beat, the performance will change-up on you, taking darker mood, more somber tone and an avant-garde approach, seemingly threatening to fall apart at seams as Grand Theft Cardio deliberately flirts with the potential disaster before pulling back from the edge – as if to test you if you’re paying attention to every beat and every note.
The Sound of Grand Theft Cardio can only be referenced to and properly explained by its foundation: 1 part John Lennon, its front man, its undisputed leader and charismatic singularity and 1 part obscure indie rock influences from late 20th to early 21st century. Like classic Beatles songs, rewritten and rearranged by Radiohead and performed in Modest Mouse style.
bozzwell
Starter
Thanks guys.
Few clarifications:
Grand Theft Cardio is one of the proposed names for my side-project band. Myspace site and other references to it on Internet are mostly my placeholders. Some dude in Australia created Grand Theft Cardio t-shirt on tastythreads.com. I have no idea who the dude is and where he got inspiration for it but it is very interesting that he posted tee design on tastythreads.com - tastythreads is founded by one of the investors in my label.
The way I have Morris play drums, drum triggers in turn "clicking" on and off the sequencer is not unusual or revolutionary, usually that is taken care of by support stuff and fancy electronics. I am "using" trigger based contraption because I built one for myself and GTC. Not because it is better, but because if the drummer is even slightly off time I need some corrective measures. In this case, "contraption" (mac book running a custom script) keeps time (of the drummer) and counts "hits" (how many times snare or kick drum or floor tom was triggered). It's a poor man's roadie and metronome all in one to be honest but I had some surprising results.
Also, when discussing what GTC (the real band-2-be) should sound like with my musician friends, several idea's were thrown around:
- Techno punk band covering "punk love anthems"
- Electronica band providing cool music for internet jukeboxes in crowded bars (like 5 minutes of silence or announcement saying "your BMW is being towed").
- Powerpop/beatlesy music, arranged like radiohead and performed like Modest Mouse. For some reason I thought it would be awesome, hence I used it here.
The "real" GTC (to be) band, is just something we do in our spare time to learn Pro Tools and other audio gear. But it helped a lot with this draft in a roundabout way.
Also, I did my writeups in a meeting today. If I didn't have the write up to do, I would definetly go crazy, as in certifiable. Good grief it was close.
Few clarifications:
Grand Theft Cardio is one of the proposed names for my side-project band. Myspace site and other references to it on Internet are mostly my placeholders. Some dude in Australia created Grand Theft Cardio t-shirt on tastythreads.com. I have no idea who the dude is and where he got inspiration for it but it is very interesting that he posted tee design on tastythreads.com - tastythreads is founded by one of the investors in my label.
The way I have Morris play drums, drum triggers in turn "clicking" on and off the sequencer is not unusual or revolutionary, usually that is taken care of by support stuff and fancy electronics. I am "using" trigger based contraption because I built one for myself and GTC. Not because it is better, but because if the drummer is even slightly off time I need some corrective measures. In this case, "contraption" (mac book running a custom script) keeps time (of the drummer) and counts "hits" (how many times snare or kick drum or floor tom was triggered). It's a poor man's roadie and metronome all in one to be honest but I had some surprising results.
Also, when discussing what GTC (the real band-2-be) should sound like with my musician friends, several idea's were thrown around:
- Techno punk band covering "punk love anthems"
- Electronica band providing cool music for internet jukeboxes in crowded bars (like 5 minutes of silence or announcement saying "your BMW is being towed").
- Powerpop/beatlesy music, arranged like radiohead and performed like Modest Mouse. For some reason I thought it would be awesome, hence I used it here.
The "real" GTC (to be) band, is just something we do in our spare time to learn Pro Tools and other audio gear. But it helped a lot with this draft in a roundabout way.
Also, I did my writeups in a meeting today. If I didn't have the write up to do, I would definetly go crazy, as in certifiable. Good grief it was close.
Kings Faithful
Starter
Guys, i honestly don't know if im gonna be able to do this for a couple days. I have a ridiculously tight schedule with school and other things not to mention a ridiculous amount of homework almost every night. Taking the time to write 2 paragraphs worth of information is not high on my priority list compared to 2-4 pages of writing plus other junk. I'll try to find some time this week...
Jespher
Starter
So my write-up will be a bit challenging because it would be impossible to find footage linking my artists together, as some of them have only limited video (Diva Plavalaguna, August Rush, and Beethoven primarily). So here it goes…
Libera Me
[FONT="]Let the music liberate your heart, feed your soul, and set you free.[/FONT]
Roster
1. Diva Plavalaguna (Vocals/Dancer)
2. Michael Jackson (Lead Vocals/ Dancer/Choreographer)
3. Chuck Berry (Lead Guitar/Vocals)
4. Ludwig Van Beethoven (Synthesizer/1st Piano/Composer/Conductor)
5. August Rush (Percussion/Guitar Percussion/2nd Piano/Choir + Orchestra Director)
This group is rather eclectic, and extremely versatile. Much like Pink Floyd, they are able to integrate long phases of instrumental riffs into their songs, incorporating dance, and haunting vocals. They are the most charitable musicians in the world, donating 85% of all of their profits towards halting global poverty, fighting diseases, and hunger. They encourage and inspire change in the world through their political message and actions. They organize concerts with celebrity appearances, and always seem to find themselves on the world stage. They travel all across the world, performing for charities and activist events such as Live 8, as well as fundraiser concerts.
Libera Me’s sound is grand in shape, and yet simple and soulful. They cover extremely dark rock with Thriller and Libera Me as well as conventional love songs and uplifting tunes. Some of their hits include the Peter Gabriel cover Red Rain:
[yt=Red Rain]N2cdP14Idyw[/yt]
Ryan Adam’s love song, When the stars go blue:
[yt=When the Stars Go Blue]X9WCfaFB-ew&feature=related[/yt]
And the soundtrack to their film “More”:
[yt=More]C8aFxk0aUuU[/yt]
All of these musicians are accomplished soloists. Diva Plavalaguna brings range, grace, passion, and spirit to the group. Her soloing career has taken her around the world in concert with orchestral backing, operatic award winning shows, Vegas concerts, and indie rock tours. She can hit both painfully high notes, as well as masculine ones, and this range gives her the ability to modify her vocal style from song to song to song. She loves songs of love, songs of loss, and songs of peace.
Michael Jackson had success as a youth with his family band, the Jackson five, but quickly out grew their modest talent and began a healthy solo career. His dance moves are unequalled, his choreography is brilliant, and his vocals are inspired. Through Libera Me he is able to raise money and awareness for global poverty, and hunger.
[yt=Prayer of the Children]CTZFIcqnQMg[/yt]
Chuck Berry brings his mastery of lead and rhythm guitar to the band as well as his soulful back up harmonies. He integrates the musical precision of Beethoven and August with raw rock and roll style and fun loving riffs. He leads celebrity dance offs with his old classics to liven the audience, and then jams in guitar duels with August Rush and other notables.
Ludwig Van Beethoven is new to the rock genre, traditionally known as a classical pianist and composer. His synthesizer beats and rhapsodies form moving instrumental interludes often lasting 10 minutes or more. He collaborates exceptionally well with August and Diva to form haunting orchestral and choral backed pieces, which Chuck and Michael integrate into a rock and roll presentation. When needed, Beethoven acts as the band’s bass player with low-keyed rantings on his synthesizer. He also solos with various rap groups providing cover backups. Ludwig’s English isn’t so great, but his music speaks for itself
Finally, August Rush steals the show with his versatility, musical ingenuity, skill, and funk. He co-writes all of their songs, and adds pieces of music from the most unusual places. For an opening song in their Chicago concert he surrounded the percussion set with a custom garden of corn plants and grasses to imitate the sound of a rustling wheat field, and later he integrated recordings from the street that he had taken that day walking around. He is an accomplished composer and conductor as well, leading Julliard’s concerts in the park, and directing renowned men’s choirs Chanticleer and Cantus along with children’s choirs from around the world. August’s most amazing talent, however, is his ability to play the guitar, not by strumming, but by slapping it in rhythm. He also plays the drums, and most any type of percussion he can get his hands on. His innocence and grace make him every interviewer’s dream.
[yt=You’ve Gotta Love Music]Pnz5W9afayc[/yt]
Libera Me
[FONT="]Let the music liberate your heart, feed your soul, and set you free.[/FONT]
Roster
1. Diva Plavalaguna (Vocals/Dancer)
2. Michael Jackson (Lead Vocals/ Dancer/Choreographer)
3. Chuck Berry (Lead Guitar/Vocals)
4. Ludwig Van Beethoven (Synthesizer/1st Piano/Composer/Conductor)
5. August Rush (Percussion/Guitar Percussion/2nd Piano/Choir + Orchestra Director)
This group is rather eclectic, and extremely versatile. Much like Pink Floyd, they are able to integrate long phases of instrumental riffs into their songs, incorporating dance, and haunting vocals. They are the most charitable musicians in the world, donating 85% of all of their profits towards halting global poverty, fighting diseases, and hunger. They encourage and inspire change in the world through their political message and actions. They organize concerts with celebrity appearances, and always seem to find themselves on the world stage. They travel all across the world, performing for charities and activist events such as Live 8, as well as fundraiser concerts.
Libera Me’s sound is grand in shape, and yet simple and soulful. They cover extremely dark rock with Thriller and Libera Me as well as conventional love songs and uplifting tunes. Some of their hits include the Peter Gabriel cover Red Rain:
[yt=Red Rain]N2cdP14Idyw[/yt]
Ryan Adam’s love song, When the stars go blue:
[yt=When the Stars Go Blue]X9WCfaFB-ew&feature=related[/yt]
And the soundtrack to their film “More”:
[yt=More]C8aFxk0aUuU[/yt]
All of these musicians are accomplished soloists. Diva Plavalaguna brings range, grace, passion, and spirit to the group. Her soloing career has taken her around the world in concert with orchestral backing, operatic award winning shows, Vegas concerts, and indie rock tours. She can hit both painfully high notes, as well as masculine ones, and this range gives her the ability to modify her vocal style from song to song to song. She loves songs of love, songs of loss, and songs of peace.
Michael Jackson had success as a youth with his family band, the Jackson five, but quickly out grew their modest talent and began a healthy solo career. His dance moves are unequalled, his choreography is brilliant, and his vocals are inspired. Through Libera Me he is able to raise money and awareness for global poverty, and hunger.
[yt=Prayer of the Children]CTZFIcqnQMg[/yt]
Chuck Berry brings his mastery of lead and rhythm guitar to the band as well as his soulful back up harmonies. He integrates the musical precision of Beethoven and August with raw rock and roll style and fun loving riffs. He leads celebrity dance offs with his old classics to liven the audience, and then jams in guitar duels with August Rush and other notables.
Ludwig Van Beethoven is new to the rock genre, traditionally known as a classical pianist and composer. His synthesizer beats and rhapsodies form moving instrumental interludes often lasting 10 minutes or more. He collaborates exceptionally well with August and Diva to form haunting orchestral and choral backed pieces, which Chuck and Michael integrate into a rock and roll presentation. When needed, Beethoven acts as the band’s bass player with low-keyed rantings on his synthesizer. He also solos with various rap groups providing cover backups. Ludwig’s English isn’t so great, but his music speaks for itself
Finally, August Rush steals the show with his versatility, musical ingenuity, skill, and funk. He co-writes all of their songs, and adds pieces of music from the most unusual places. For an opening song in their Chicago concert he surrounded the percussion set with a custom garden of corn plants and grasses to imitate the sound of a rustling wheat field, and later he integrated recordings from the street that he had taken that day walking around. He is an accomplished composer and conductor as well, leading Julliard’s concerts in the park, and directing renowned men’s choirs Chanticleer and Cantus along with children’s choirs from around the world. August’s most amazing talent, however, is his ability to play the guitar, not by strumming, but by slapping it in rhythm. He also plays the drums, and most any type of percussion he can get his hands on. His innocence and grace make him every interviewer’s dream.
[yt=You’ve Gotta Love Music]Pnz5W9afayc[/yt]
Last edited:
Jespher
Starter
Libera Me Nearing Goal of $100 Billion in Aide
[FONT="]
Associated Press:
Over the years, the rock band Libera Me has helped raise money and awareness to some of the worlds most pressing issues. They have petitioned presidents to forgive debt to impoverished nations in Africa, they have put together benefit concerts for the Indonesian Tsunami and Hurricane Katrina victims, Somalian, Sudanese, and Bosnian refugees, and Freedom Fighters for Tibet. They have donated the proceeds of their concerts and their charitable funds to the Red Cross, Habitat for Humanity, Amnesty International, The National Wildlife Federation, as well as their own organization, Global Solutions, fighting to give basic life freedoms and rights to all people around the world. Their album “Live at the Berlin Wall” has recorded triple platinum status, along with their epic “More”. "Birds Eating Birds, Fish Eating Fish" has currently toped the European charts for the past 4 months, and their single "Set Me Free, Liberate Me" reached platinum status last month. They are currently compiling a greatest hits boxed set to benefit Global Solutions.[/FONT]
[FONT="] [/FONT]
[FONT="]Working from both a grass roots and a national level, they have teamed with celebrities, politicians and musicians such as U2’s Bono, and Pink Floyd’s Bob Gildoff, former vice president Al Gore, Michael Moore, Brad Pitt, George Clooney, Leonardo DiCaprio, Michael J Fox, Will Smith, and a host of others to give benefit concerts and tours. They interact with activists and local leaders to inspire change in community policies, as well as raise global awareness. Since its inception in the late 1980s the band has cultivated its message of change and raised nearly 100 Billion dollars in charitable aide. Libera Me has been nominated for the Nobel Peace Prize on two occasions, through their work with African poverty solutions and their refugee housing and food program. Diva Plavalaguna was recently reached for comment:[/FONT]
[FONT="] [/FONT]
[FONT="]“The generosity of people is very inspiring. It’s extremely exhilarating to know that this band helped catalyze such global change. We will continue to work for the betterment of our world, and knowing that the work is so rewarding and well received is quite touching. We as a culture choose the type of world we want to live in, and everyday, for more than 20 years now, people have chosen to support those less fortunate around them for the betterment of our global society.”[/FONT]
[FONT="]
Associated Press:
Over the years, the rock band Libera Me has helped raise money and awareness to some of the worlds most pressing issues. They have petitioned presidents to forgive debt to impoverished nations in Africa, they have put together benefit concerts for the Indonesian Tsunami and Hurricane Katrina victims, Somalian, Sudanese, and Bosnian refugees, and Freedom Fighters for Tibet. They have donated the proceeds of their concerts and their charitable funds to the Red Cross, Habitat for Humanity, Amnesty International, The National Wildlife Federation, as well as their own organization, Global Solutions, fighting to give basic life freedoms and rights to all people around the world. Their album “Live at the Berlin Wall” has recorded triple platinum status, along with their epic “More”. "Birds Eating Birds, Fish Eating Fish" has currently toped the European charts for the past 4 months, and their single "Set Me Free, Liberate Me" reached platinum status last month. They are currently compiling a greatest hits boxed set to benefit Global Solutions.[/FONT]
[FONT="] [/FONT]
[FONT="]Working from both a grass roots and a national level, they have teamed with celebrities, politicians and musicians such as U2’s Bono, and Pink Floyd’s Bob Gildoff, former vice president Al Gore, Michael Moore, Brad Pitt, George Clooney, Leonardo DiCaprio, Michael J Fox, Will Smith, and a host of others to give benefit concerts and tours. They interact with activists and local leaders to inspire change in community policies, as well as raise global awareness. Since its inception in the late 1980s the band has cultivated its message of change and raised nearly 100 Billion dollars in charitable aide. Libera Me has been nominated for the Nobel Peace Prize on two occasions, through their work with African poverty solutions and their refugee housing and food program. Diva Plavalaguna was recently reached for comment:[/FONT]
[FONT="] [/FONT]
[FONT="]“The generosity of people is very inspiring. It’s extremely exhilarating to know that this band helped catalyze such global change. We will continue to work for the betterment of our world, and knowing that the work is so rewarding and well received is quite touching. We as a culture choose the type of world we want to live in, and everyday, for more than 20 years now, people have chosen to support those less fortunate around them for the betterment of our global society.”[/FONT]
Last edited:
Bricklayer
Don't Make Me Use The Bat
In no way shape or form am I going to be able to or even attempt to match the preceding types of efforts. I have an idea or two and will have something, but there is no point in holding the draft up for it. Skip me for the time being please.
John Galt
Starter
I'm not up to anywhere near the effort of the first few wrapups either. You guys have been very impressive. I had a little something I thought was kind of cool but it nothing as elaborate as what has been done so far and now my thing feels kind of embarrassingly thin. Oh well, kudos to you guys. wow.
NoBonus
Starter
Black Bayou
Black Bayou
Hard rock has never rocked so hard.
NoBonus
1.09 - Angus Young - Lead Guitar / Back-up Vocals (80's era)
2.08 - John Fogerty - Lead Vocals / 3rd Lead and Rhythm Guitar (Creedence Clearwater Revival era)
3.09 - John Paul Jones - Bass (70's era)
4.08 - Tony Iommi - 2nd Lead and Rhythm Guitar (70's Black Sabbath era)
5.09 - Bun E. Carlos - Drums (80's era)
Concert review from Rolling Stone Magazine:
Black Bayou played last night at San Francisco's Candlestick Park arena as their only northern California stop on their whirlwind world arena tour. After the massive success of their self-titled debut album, Black Bayou was thrust from a small time San Jose band to international superstars seemingly overnight. The concert started with the guitar playing phenomenon Angus Young running out on stage in a schoolboy uniform and signature Gibson SG guitar blazing, head banging, running from one side of the stage to the other, rocking the intro to "Thunderstruck Around the Bend". Bun E. Carlos and complete drum kit rose magically from the stage floor dressed like a mortician and with a cigarette bobbing up and down to each beat. Out of the shadows walks the quite voiced, yet thunderous bass player John Paul Jones helping build the explosion of sound. With a deafening roar of his left handed Gibson SG, Tony Iommi runs onto the stage, whipping the crowd into a frenzy of jumping and cheering. Finally, out struts John Fogerty, filling in the rhythm of the song. The interweaving of Young's and Iommi's guitar part are both mezmerizing and violently loud. Suddenly, Fogerty's rough voice seers into the song, with a growling quality unmatched by any others. Normal at the slow parts, ferocious at the hard parts. Young added the occaisional backup vocal, but Fogerty needs very little backup. The band played through their entire album of hard rock gold plus a couple blues covers before being called out on stage for the first of three encores with a no-nonsense, no frills, no fireworks show... well the only fire works were when the guitars were blazing for a triple Iommi, Fogerty, Young solo or when Young climbed on Fogerty's shoulder's to play a solo. For the encores they played new songs from their coming album that were written on the road; Paranoid and Confused, Back in Black Dog, Shook my Travellin' Band, and Stairway to Bayou.
After the show I went backstage, Iommi and Young, the yin and yang, the dark and light of hard rock, were both hanging out discussing something regarding Iommi's missing fingertip and laughing. John Paul Jones and John Fogerty were both wearing "Bun E. Carlos for President" t-shirts and enjoying a drink. Bun E. was hamming it up with everyone and getting dressed in yet another shirt and tie.
This band has rocked harder then any other band in history, yet, they are still down to earth guys. Blue collar- leather pants wearing warriors for hard rock, Balck Bayou.
[yt=Angus Young]IlejfA5NCbQ[/yt] [yt=Bun E. Carlos]Ye4U7Qp5sNU[/yt]
[yt=John Paul Jones]N9i2fqxSjTI[/yt] [yt=Tony Iommi]HFh8noEepU4[/yt]
[yt=John Fogerty]oVhAd99Vkcc[/yt]
Black Bayou
Hard rock has never rocked so hard.
NoBonus
1.09 - Angus Young - Lead Guitar / Back-up Vocals (80's era)
2.08 - John Fogerty - Lead Vocals / 3rd Lead and Rhythm Guitar (Creedence Clearwater Revival era)
3.09 - John Paul Jones - Bass (70's era)
4.08 - Tony Iommi - 2nd Lead and Rhythm Guitar (70's Black Sabbath era)
5.09 - Bun E. Carlos - Drums (80's era)
Concert review from Rolling Stone Magazine:
Black Bayou played last night at San Francisco's Candlestick Park arena as their only northern California stop on their whirlwind world arena tour. After the massive success of their self-titled debut album, Black Bayou was thrust from a small time San Jose band to international superstars seemingly overnight. The concert started with the guitar playing phenomenon Angus Young running out on stage in a schoolboy uniform and signature Gibson SG guitar blazing, head banging, running from one side of the stage to the other, rocking the intro to "Thunderstruck Around the Bend". Bun E. Carlos and complete drum kit rose magically from the stage floor dressed like a mortician and with a cigarette bobbing up and down to each beat. Out of the shadows walks the quite voiced, yet thunderous bass player John Paul Jones helping build the explosion of sound. With a deafening roar of his left handed Gibson SG, Tony Iommi runs onto the stage, whipping the crowd into a frenzy of jumping and cheering. Finally, out struts John Fogerty, filling in the rhythm of the song. The interweaving of Young's and Iommi's guitar part are both mezmerizing and violently loud. Suddenly, Fogerty's rough voice seers into the song, with a growling quality unmatched by any others. Normal at the slow parts, ferocious at the hard parts. Young added the occaisional backup vocal, but Fogerty needs very little backup. The band played through their entire album of hard rock gold plus a couple blues covers before being called out on stage for the first of three encores with a no-nonsense, no frills, no fireworks show... well the only fire works were when the guitars were blazing for a triple Iommi, Fogerty, Young solo or when Young climbed on Fogerty's shoulder's to play a solo. For the encores they played new songs from their coming album that were written on the road; Paranoid and Confused, Back in Black Dog, Shook my Travellin' Band, and Stairway to Bayou.
After the show I went backstage, Iommi and Young, the yin and yang, the dark and light of hard rock, were both hanging out discussing something regarding Iommi's missing fingertip and laughing. John Paul Jones and John Fogerty were both wearing "Bun E. Carlos for President" t-shirts and enjoying a drink. Bun E. was hamming it up with everyone and getting dressed in yet another shirt and tie.
This band has rocked harder then any other band in history, yet, they are still down to earth guys. Blue collar- leather pants wearing warriors for hard rock, Balck Bayou.
[yt=Angus Young]IlejfA5NCbQ[/yt] [yt=Bun E. Carlos]Ye4U7Qp5sNU[/yt]
[yt=John Paul Jones]N9i2fqxSjTI[/yt] [yt=Tony Iommi]HFh8noEepU4[/yt]
[yt=John Fogerty]oVhAd99Vkcc[/yt]
Kingzrool
Starter
LIQUID
1.08 - Carlos Santana - Guitar / Back-up Vocals
2.09 - Stevie Wonder - Lead Vocals / Piano / Keyboards
3.08 - Jaco Pastorius - Bass
4.09 - Stewart Copeland - Drums and Percussion / Back-up Vocals
5.08 - Giovanni Hidalgo - Congas and Percussion
October, 1973 - San Francisco
Who is Liquid? These five young guys that have just broken out on the musical scene are nothing short of a musical phenomenon. Although you have not heard of Carlos Santana yet, mark my words, he will become a household name one day. His guitar work is nothing short of genius. Raw and soulful, he makes the guitar sing like I have never seen before. His childhood friend Stevie Wonder fronts the band behind a Piano and an assortment of Keyboards. This dude can sing his heart out. He has a voice smooth as silk and he gets funky on the keys. Really funky. His harmonica playing is impressive as well.
Jaco Pastorius is just this amazing bass player and really lays out some original sounding grooves. He had been jamming with drummer Stewart Copeland in his basement for three years before they met up with the already developing Wonder/Santana duo at a party in San Francisco. Both pairs had been looking for their counterpart for some time so they all clicked instantly. After securing a South of Market studio to practice in, the sound and songs began to form.
Copeland is a fastidious drummer with a passion for the cymbals and percussive end of his set. It became clear that they needed a conga player. After countless auditions, they gave up as none were really able to keep up with Copeland. Stewart was at Slims to see a friend’s band and the opening act was an unknown group from Puerto Rico that was blowing his mind. The conga player was exactly what they had been looking for plus. He approached Hidalgo after the set and convinced him to come to their studio that night. They jammed until day light. It was an instant match and they looked to book their first gig. After playing only five shows at small venues, they were asked to headline at The Great American Music Hall. Having heard a bit about them from a friend that caught their second show, I decided that I would catch this one..
Obviously, the word was out as the place was packed a half an hour before showtime. The stage was minimally set with the instruments and monitors only. The impressive part was that they actually had a Grand Piano on stage and Stewart’s drum set was basically a four walled room of percussion. It must have taken all day to set up. The house lights went down and the stage lights went up as the crowd roared in anticipation. The band came out with no theatrics, took their places and upon Copeland’s cue dropped into a ferocious groove.
As the set moved on, I realized that Liquid is the perfect name for a band that weaves through musical genres and from song to song with such incredible fluidity. The overall sound is Latin funk, but they constantly make forays into reggae, rock and jazz. There was a really cool percussion breakdown in which Stevie carried on like The Last Poets. The set structure was more like that of a Grateful Dead concert as the music only stopped at set break and before the encore. All songs were segued and every song had extended guitar and keyboard solos. The bass and drum solos were not really that as the beat and groove were never compromised and one could even dance right through the jazzy bits. With each segue; the band continually elevated the energy in the room, refusing to give it a moment to subside. The jams would get so intense that you could barely stand it any more and then, on the one, they would drop into a sparse yet tight groove and Stevie would be right there with his politically charged and socially conscious lyrics. This band is dynamics.
The crowd was pulsing to the beat in its entirety, I looked around and not one person was leaning against the wall. The energy in this hall was something that I have never witnessed. The musicianship that these young fellows demonstrated was on par with the greatest bands of the day, you can be sure that they will go far. I highly recommend catching a show before they get signed and diluted by the music industry if you are lucky enough to get the chance.
1.08 - Carlos Santana - Guitar / Back-up Vocals
2.09 - Stevie Wonder - Lead Vocals / Piano / Keyboards
3.08 - Jaco Pastorius - Bass
4.09 - Stewart Copeland - Drums and Percussion / Back-up Vocals
5.08 - Giovanni Hidalgo - Congas and Percussion
October, 1973 - San Francisco
Who is Liquid? These five young guys that have just broken out on the musical scene are nothing short of a musical phenomenon. Although you have not heard of Carlos Santana yet, mark my words, he will become a household name one day. His guitar work is nothing short of genius. Raw and soulful, he makes the guitar sing like I have never seen before. His childhood friend Stevie Wonder fronts the band behind a Piano and an assortment of Keyboards. This dude can sing his heart out. He has a voice smooth as silk and he gets funky on the keys. Really funky. His harmonica playing is impressive as well.
Jaco Pastorius is just this amazing bass player and really lays out some original sounding grooves. He had been jamming with drummer Stewart Copeland in his basement for three years before they met up with the already developing Wonder/Santana duo at a party in San Francisco. Both pairs had been looking for their counterpart for some time so they all clicked instantly. After securing a South of Market studio to practice in, the sound and songs began to form.
Copeland is a fastidious drummer with a passion for the cymbals and percussive end of his set. It became clear that they needed a conga player. After countless auditions, they gave up as none were really able to keep up with Copeland. Stewart was at Slims to see a friend’s band and the opening act was an unknown group from Puerto Rico that was blowing his mind. The conga player was exactly what they had been looking for plus. He approached Hidalgo after the set and convinced him to come to their studio that night. They jammed until day light. It was an instant match and they looked to book their first gig. After playing only five shows at small venues, they were asked to headline at The Great American Music Hall. Having heard a bit about them from a friend that caught their second show, I decided that I would catch this one..
Obviously, the word was out as the place was packed a half an hour before showtime. The stage was minimally set with the instruments and monitors only. The impressive part was that they actually had a Grand Piano on stage and Stewart’s drum set was basically a four walled room of percussion. It must have taken all day to set up. The house lights went down and the stage lights went up as the crowd roared in anticipation. The band came out with no theatrics, took their places and upon Copeland’s cue dropped into a ferocious groove.
As the set moved on, I realized that Liquid is the perfect name for a band that weaves through musical genres and from song to song with such incredible fluidity. The overall sound is Latin funk, but they constantly make forays into reggae, rock and jazz. There was a really cool percussion breakdown in which Stevie carried on like The Last Poets. The set structure was more like that of a Grateful Dead concert as the music only stopped at set break and before the encore. All songs were segued and every song had extended guitar and keyboard solos. The bass and drum solos were not really that as the beat and groove were never compromised and one could even dance right through the jazzy bits. With each segue; the band continually elevated the energy in the room, refusing to give it a moment to subside. The jams would get so intense that you could barely stand it any more and then, on the one, they would drop into a sparse yet tight groove and Stevie would be right there with his politically charged and socially conscious lyrics. This band is dynamics.
The crowd was pulsing to the beat in its entirety, I looked around and not one person was leaning against the wall. The energy in this hall was something that I have never witnessed. The musicianship that these young fellows demonstrated was on par with the greatest bands of the day, you can be sure that they will go far. I highly recommend catching a show before they get signed and diluted by the music industry if you are lucky enough to get the chance.
Last edited:
Kings Faithful
Starter
How are you guys doing this, this is grade A stuff! I don't think i have that much creativity in my entire body....Im having trouble coming up with a decent name! haha.
Yes this is great stuff. However, I believe that BTO put it best...
You Ain't Seen Nuthin Yet
