Noiseworks

   
Artist: Noiseworks

   Genre(s): 
Other
   

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Discography:


   
 Love Versus Money

   Year: 1991   
Tracks: 12


   
 Noiseworks

   Year: 1988   
Tracks: 10

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Australian band Noiseworks formed in Sydney in 1985. Playing hard rock that owed as practically to Australian public house bands such as Cold Chisel as it did to American bands like Bon Jovi, Noiseworks went on to become one of the more than successful Australian rock candy acts of the former '80s. The band released their self-titled debut in 1987, and it became an instant success, thanks to the posture of the singles "No Lies," "Welcome to the World," and "Take Me Back." Noiseworks went triple platinum in Australia, selling over 210,000 copies.


Their followup, 1989's Extend to was not as successful, simply still sold over cl,000 units. For 1991's Love vs Money, the band stripped-down away some of the synthesised elements of their sound, aiming for a mix of straightforward rock and dance grooves. Love vs Money produced two singles in the var. of "Blood Millie" and the Cult-influenced "Hot Chilli Woman." Despite this, Love vs Money could not live up to the success of their debut, and the band stony-broke up shortly afterwards. A best-of album appeared in 1994.


Fresh Zealand-born star vocaliser Jon Stevens went on to carve out a successful solo career, while banding members Steve Balbi and Justin Stanley resurfaced in the mid-'90s with the ephemeral Electric Hippies. In 1999, Stevens and original members Stuart Fraser and Kevin Nichol reformed the grouping under the soubriquet Noiseworks II.





Wayne Rooney And Coleen McLoughlin Land �2.5m For Baby Photos

Winehouse apologizes for racial slurs; husband pleads guilty

LONDON — Amy Winehouse denied that her singing of a slur-filled ditty made her a racist Monday, the same day it was learned that her husband — who videotaped the performance — pleaded guilty to assault and other charges that could cost him more jail time.

The video, taken by Blake Fielder-Civil sometime before his arrest late last year and published Sunday by the News of the World, shows Winehouse and another woman sitting on a couch, singing a string of racial epithets to the tune of the children's song "Head, Shoulders Knees and Toes."

Fielder-Civil, holding the camera, is heard encouraging them to sing it, insisting afterward he "wasn't recording it ... I swear on my life." The video goes on to show Winehouse passed out on the couch.

Winehouse later stood outside her north London home, telling paparazzi that she was sorry, adding: "I don't want to play anything down, but I'm the least racist person going."

Fielder-Civil, 26, was being tried in London on charges of attacking pub landlord James King, and then conspiring with King to have the landlord withdraw as a witness.

Fielder-Civil and three co-defendants pleaded guilty last week, but a court order barred reporting the pleas because King is scheduled to face a separate trial. Judge David Radford lifted the reporting restriction Monday.

Winehouse and Fielder-Civil married in Miami in May 2007. He was arrested in November and has been in jail awaiting trial ever since.

Winehouse has become an international star since she released the Grammy-winning album "Back to Black" in 2006. But her music has been overshadowed by reports of her drug use, run-ins with the law and tempestuous relationship with Fielder-Civil.

Winehouse's spokesman did not immediately respond to a request for comment Monday.

Fielder-Civil faces a maximum of five years in prison for the assault charge. Perverting the course of justice — the equivalent of obstruction of justice in the U.S. — carries a maximum sentence of life, though that is unlikely to be imposed in this case.

The defendants are due to be sentenced later.

See Also

• Leonardo DiCaprio to star in ‘Atari’
• Andy Burrows recruits Razorlight bandmate for solo gig
• Pete Wentz: Hearing baby’s heartbeat made me at peace
• Deee-Lite

Necrony

   
Artist: Necrony

   Genre(s): 
Other
   

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Discography:


   
 Necronycism - Distorting The Originals

   Year: 1994   
Tracks: 12

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Erick Morillo Ft P Diddy

Joel starts fire at Mohegan Sun

As American singer/songwriters go, few have had careers as enduring and endearing as Billy Joel. There’s a reason for that: few have earned it like he has.
Sure, the 59-year-old New York icon has hit some personal lows in the latter half of his 40-year-plus musical stint ... so what? Besides a few forgivable missteps, his catalogue is one of astounding consistency - which was glaringly evident during the first of 10 shows at Mohegan Sun Friday night.
Joel’s entrance was stately: his piano rose from beneath a stage cloaked in darkness while the majestic sound of brass and strings swelled over the PA system. When the lights came up he crouched over the keys and pounded out “The Angry Young Man,” an arguably autobiographical signature tune.. The slow-to-fill sold-out house magically packed once the music began.



Joel’s character study continued with “My Life” and “The Entertainer,” while his five-piece band (periodically expanded to seven) chugged dutifully along. Despite a slightly garbled sound mix, the Long Island native came across as calm, confident and capable. True, his voice is weathered on the edges, but the aged nuances of his vibrato are, for the most part, quite becoming.
The good stuff kept coming: the hooks that made “Allentown” a radio staple have retained their power; the baseball-themed “Zanzibar” was rife with delicious jazzy nuances, and Carl Fischer’s powerhouse horn solo was an adventurous delight. “New York State of Mind” triumphed with Mark Rivera’s expressive sax, and “Movin’ Out (Anthony’s Song)” featured Rivera, Fischer and percussion madwoman Crystal Taliefero on a charged, triple-sax finish. The alternating youthful tension and release portrayed in “Captain Jack” was no less poignant despite the songs (and Joel’s) age.
There were no fussy backdrops, laser beams or projected film images. And there didn’t need to be: Joel and his songs require no secondary stimulation. Even when he stepped away from the piano to play guitar while a roadie nicknamed Chainsaw belted out AC/DC’s “Highway to Hell,” Joel’s focus was maintained, even if the stunt seemed unnecessary (although not too badly rendered, truth told).
Joel’s encores of the suite-like “Scenes From an Italian Restaurant” and “Piano Man” were enough to make even the most stoic attendees go limp with misty-eyed sentimentality, serving as proof of the power in his carefully chosen words. Less time-ravaged than fellow piano god Sir Elton John and more accessible than the ever-rustic Bruce Springsteen, Joel’s made an indelible contribution to American musical culture. Friday’s performance was further confirmation that he’s in a class by himself. Chances are the Angry Young Man likes it that way.
At Mohegan Sun Arena, Uncasville, Conn., Friday night. Continues tonight, Thursday, Saturday; June 13, 15, 26 and 28; and July 3 and 5.