Zoek

[mars]

Ga me helemaal aan jullie vasthouden.

nouuuuuu , dat zou ik dan weer niet doen   hahaha geintje

grtz mars

ps; ik ben wel van de nieuwe muziekjes hoor , mijn smaak is eigenlijk te omschrijven als ; van het jaar 1700 t/m de muziek van morgen. Tja wel breed eigenlijk

[Paul]

nouuuuuu , dat zou ik dan weer niet doen   hahaha geintje

grtz mars

ps; ik ben wel van de nieuwe muziekjes hoor , mijn smaak is eigenlijk te omschrijven als ; van het jaar 1700 t/m de muziek van morgen. Tja wel breed eigenlijk

ff offtopic, moet ook nog steeds een keer langs Marco en dan mogen wat mij betreft alle cd,s de kast uit.
Heb ik ook weer wat te melden op ons marantzhyves.

[mars]

ff offtopic, moet ook nog steeds een keer langs Marco en dan mogen wat mij betreft alle cd,s de kast uit.
Heb ik ook weer wat te melden op ons marantzhyves.

ja toch , maar zal ik je wat vertellen   ik weet niet eens hoe dat gehyve werkt

hahaha ik ben namelijk pas toegetreden in het computertijd perk

grtz mars

[Paul]

ja toch , maar zal ik je wat vertellen   ik weet niet eens hoe dat gehyve werkt

hahaha ik ben namelijk pas toegetreden in het computertijd perk

grtz mars

Heb bij deze een alternatief voor de shootout gevonden.

[Maurice]

Momenteel Ella F en Count B - The Perfect Match opstaan als achtergrond muziek tijdens het werken.

[Maurice]

NU:

Biography   by Bret Adams

Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music.

[Stadium III]

Altijd leuk !

[mars]

Altijd leuk !

haha heb ik ook opstaan nu

grtz mars

[Maurice]

NU:

Queensrÿche - Take Cover (2007)

Review   by Thom Jurek

Now here's a weird one: Queensrÿche's covers album. Given their long run, and the rock & roll tradition the band's members have come from and indulged in as individual listeners, it shouldn't perhaps be a surprise that they'd be interested in everything from Pink Floyd to Crosby, Stills, Nash & Young, Queen, Black Sabbath, Gamble & Huff, the Police, U2, and Peter Gabriel (oh yeah, and the score of Jesus Christ Superstar). Appalled or intrigued yet? Both? Yeah. For fans of this mighty, conceptual prog metal unit, there is nothing to fear. The renaissance that Queensrÿche underwent when founding guitarist Chris DeGarmo left the band has been nothing short of astonishing. From Tribe to Operation: Mindcrime II to this, the results have been for the most part tremendously satisfying. The live records, which are really live, attest to that. While the opening version of Pink Floyd's "Welcome to the Machine" draws very natural comparisons to the paranoia and fear on the Mindcrime series, it does not prepare listeners for the reinvention of the Tim Rice-Andrew Lloyd Webber penned "Heaven on Their Minds," from J.C. Superstar, sung from the point of view of Judas Iscariot. Queensrÿche turn this baby into a first-rate metal tune, using its melody but changing its dynamic range and creating a tension that is both heavy and almost unbearably emotional at the same time (and vocalist Geoff Tate should be considered for the role when another touring production of the hard rock musical is assembled: he sings his ass off). The same goes for the C,S,N&Y covers "Almost Cut My Hair" and Stills' "For What It's Worth," as done by his preceding band with Young, the Buffalo Springfield.

These are paranoid, overtly political songs, as were their originals, and the edge of paranoia coming from the twin guitars of Michael Wilton and Mike Stone push the former from being simply a rocker into an overdriven, riff-propelled jam. The latter doesn't work quite as well, but it's pleasant enough, even though the new twists on the melody sound forced. "For the Love of Money" transforms itself quite naturally from a funky, in the pocket groover to a tough metal tune. Ed Bass is having a ball with that riff, which is the root of the whole tune. There's no stretch involved with the Q-rÿche playing Queen's "Innuendo," or Black Sabbath's "Neon Nights"; these guys grew up with these tunes and have probably envisioned themselves recording them forever. These are solid, killer moments in the middle of the disc. While "Synchronicity II" rocks harder than the Police could have ever dreamed, Peter Gabriel's "Red Rain" feels strained because Tate is using inflections in his vocal that are not natural. That said, the bass in this tune is monstrously great. The set ends with U2's "Bullet the Blue Sky," done live. Over ten minutes long with plenty of feedback and bass throb, it's the best thing here. Not because it's a U2 cut, but because of what Queensrÿche do with it. They shift the rhythms, melody, and dramatic parts all around, turning it into a song in their own image. U2 should never play it again because this one is the jam. The guitar and bass lock in this thing is amazing. Nine winners, one loser, and one so-so track make this a covers record that has plenty of fire, plenty of innovation progressive moments, and some genuine inspiration. All of this said, now it's time for Queensrÿche to get back in the studio proper and write some new material and do a proper album of their own.

[Paul]

De Top 1000 allertijden op Veronica.

[erwin]

Altijd leuk 

grtz Erwin

De Top 1000 allertijden op Veronica.

[WYWH]

Nu: Between Interval en Carbon Based Lifeforms.

[erwin]

Nu: Knights of Cydonia (Muse)
Wat kan die Bellamy gitaar spelen,echt super

Grtz Erwin.

[TurboMarco]

eagles long road out of eden (deluxe collectors edition)




Nearly six years in production, Long Road Out of Eden is the first studio album from the Eagles since 1979.

In 2006, a special edition exclusive to Wal-Mart of the DVD release, Farewell 1 Tour-Live from Melbourne, included a bonus CD with three studio versions of songs from Long Road Out of Eden: "No More Cloudy Days," "Do Something" and "Fast Company."

On August 20, 2007, "How Long," written by J.D. Souther -- who had previously worked with the Eagles co-writing some of their biggest hits including "Best of My Love," "Victim of Love," "Heartache Tonight" and "New Kid in Town" -- was released as a single to radio with an accompanying online video at Yahoo! Music and debuted on television on CMT during the Top 20 Countdown on August 23, 2007. The band performed the song as part of their live sets in the early to mid 1970s, but did not record it at the time due to J.D. Souther's desire to use it on his first solo album.

On November 20, 2007, the Deluxe Collector's Edition of Long Road Out of Eden was released, featuring two bonus tracks, "Hole In The World" and "Please Come Home For Christmas." This version of the CD is wrapped in a red linen cloth, screen printed with panoramic imagery, and includes a 40 page booklet with lyrics, credits, exclusive photos and desert scenes from the making of the "How Long" video.[1]

In an interview with CNN, band member Don Henley declared, "This is probably the last Eagles album that we'll ever make." 

[Paul]

De uitspraak in de zaak Holleeder op Ned1...........en 9 jaar gekregen.