Tuesday, 24 June 2008

Ain Soph

Ain Soph   
Artist: Ain Soph

   Genre(s): 
Rock
   Experimental
   Rock: Gothic
   



Discography:


October   
 October

   Year: 2002   
Tracks: 7


III: Ritual CD2   
 III: Ritual CD2

   Year: 1999   
Tracks: 1


III: Crucifuge CD1   
 III: Crucifuge CD1

   Year: 1999   
Tracks: 1


Kshatriya   
 Kshatriya

   Year: 1993   
Tracks: 5


Aurora   
 Aurora

   Year: 1992   
Tracks: 14




The all-instrumental Ain Soph formed in the late '70s in Japan and was influenced by the jazz-rock fusion of Canterbury bands of the recent '60s and other '70s such as Camel and Soft Machine. Dominated by keyboards, the band's idle words nuclear fusion reaction on occasion gives way to medicine more in the progressive rock vein with more orchestrated and spacier sections. Calling themselves Tenchi Sozo, Yozok Yamamoto (guitars), Kikuo Fujikawa (keyboards), Masahiko Torigaki (bass), and Hiroshi Natori (drums) recorded one of their 1978 concerts as a demo tape. Released in 1991 as the Ain Soph album Ride on a Camel, it shows a stronger influence by Camel than on afterward releases. Changing their call to Ain Soph in 1980, Fujikawa left the stripe and the grouping found a new keyboard musician in Masey Hattori. Their first record album, A Story of Mysterious Forest (1980), brought around comparisons to the jazz fusion of Mahavishnu Orchestra. When Hattori left to pattern the fusion stria 99.99, it brought well-nigh an end to activity on the Ain Soph front until 1986, when Fujikawa rejoined the band with Bellaphon drummer Taiqui Tomiie. Hat and Field was released in 1987 and was a testimonial of sorts to the Canterbury band Hatfield and the North. 1991's Marine Menagerie featured studio versions of some of the material from Ride on a Camel with some new tracks. Fire From Nine, released in 1993, set up the stripe moving more towards square jazz than on old records.






Sunday, 22 June 2008

Colin Hay

Colin Hay   
Artist: Colin Hay

   Genre(s): 
Rock
   Other
   



Discography:


Man at Work   
 Man at Work

   Year: 2003   
Tracks: 13


Company Of Strangers (Brown Bag Edition)   
 Company Of Strangers (Brown Bag Edition)

   Year: 2002   
Tracks: 11


Peaks and Valleys   
 Peaks and Valleys

   Year: 1992   
Tracks: 13


Transcendental Highway   
 Transcendental Highway

   Year:    
Tracks: 12


Topanga   
 Topanga

   Year:    
Tracks: 12


Going Somewhere   
 Going Somewhere

   Year:    
Tracks: 13




As the singer, guitarist, and independent ballad maker of Australia's Men at Work, Colin Hay was creditworthy for composition several of the quirkiest pop hits of the early '80s. Although he and his sometime band will forever and a day be associated with "the res publica down under," Hay earlier hailed from Scotland, where he was innate in the township of Kilwinning on June 29, 1953. Hay relocated to Australia in 1967, by which time he had begun playing guitar and vocalizing. Although the area is in all likelihood best known for spawning hard rock bands (AC/DC, Rose Tattoo, Radio Birdman, etc.), Hay sought to form a dance band that was more in line of products with the burgeoning new moving ridge style, just one that likewise embraced pop. Shortly afterward connexion up with guitarist Ron Strykert in 1978, Hay's captain plan was accomplished, as Men at Work was formed. Rounding out the band was saxophonist/flutist Greg Ham, bassist John Rees, and drummer Jerry Speiser, wHO in 1982 issued their debut full-length, Commercial enterprise as Usual. Earning rather a few comparisons to then-reigning graph kings the Police, Men at Work quickly became MTV favorites (during the station's early years). Since he was the group's chief vocalist and songwriter, Hay quickly became the focal point of the band, as such humourous videos for "WHO Can It Be Now" and "Down Under" pushed the debut album to the top of the U.S. charts -- devising Men at Work an overnight sensation. Perhaps sensing that they should strike again spell they were still fresh in people's minds, Men at Work went directly back in the studio to work on another album. Issued in 1983, Lading was some other goodly reach, just did non transportation intimately as well as its predecessor -- commercially or artistically. Taking an extended break, Hay and company did non resurface once more until 1985's Deuce Hearts, an unfocussed recording that power saw virtually half of the circle replaced. With the album's disappointing showing, Men at Work rip up shortly thereafter. Hay embarked on a solo life history, debuting in 1987 with Looking for Jack (the claim of which supposedly referred to a abbreviated bump Hay had with actor Jack Nicholson), which once more failed to meet the success of his early operate with Men at Work. Hay continued to release solo corporeal with regularity throughout the '90s, including such titles as 1990's Wayfaring Sons, 1992's Peaks & Valleys, 1994's Topanga, and 1998's Otherworldly Highway. The same tenner, Hay besides launched his possess record tag, Lazy Eye Records, and periodically acted in cult movies (which he had began doing the previous decade) and TV shows, including parts on such serial as Jag, The Larry Sanders Show, and The Mick Molloy Show, among others. Hay continues to release albums and circuit to this day, as the early twenty-first c byword the going of a pair of recordings -- a new studio album in 2001, Leaving Somewhere, and a aggregation of re-recorded Men at Work and solo tracks in 2003 (Man at Work). Hay besides toured with Ringo Starr in the summertime of 2003, as part of the early Beatles drummer's annual All Starr Band. He released Ar You Lookin' at Me? in 2007.






Saturday, 21 June 2008

Pearl Jam mixes hits, rarities, politics at Bonnaroo

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Bonnaroo not quite a sellout

More on Bonnaroo at Billboard's Jaded Insider






MANCHESTER, Tenn. -- Pearl Jam capped its headlining slot Saturday at Bonnaroo with an impassioned rendering of Bob Dylan's "All Along the Watchtower," with frontman Eddie Vedder urging the sprawling throng to vote for change in November.
"There's a time and place for this kind of talk, right?" he asked late in the show, noting that music alone can't change the world, only people like those in front of him can. "It is welded into the Constitution that people have not only the right, but the responsibility to make change. It can't get any worse. We're right here in the middle of America. We can change the whole world. Do you agree that this is the time and place for this kind of talk?" The crowd roared its approval.
Not long after reaching its scheduled finish time of 12:15 a.m., without hesitation Vedder and company pressed on with the Victoria Williams-penned fan fave "Crazy Mary" and others, before eventually forking over the mega-hit "Alive."
If the previous night saw fellow headliners Metallica sticking to its vintage, pre-1992 material, Pearl Jam toured its catalog and then some. The band wowed fans with a fiery take on the Who's "Love, Reign o'er Me," and during "Daughter" Vedder even threw in a portion of the English Beat's "Save It for Later." The outtake "All Night" was played for the first time ever, while "W.M.A." made its first complete live appearance in 13 years.
Pearl Jam's appearance at Bonnaroo marked just its second U.S. festival date since nine fans were crushed to death during its 2000 set at Denmark's Roskilde Festival. Without specifically mentioning the event, Vedder referred to the tragedy when expressing his awe at how so many people could come together peacefully. "There was a time when we thought we'd never play a show like this again -- and for good reason," he said. "(Bonnaroo) makes you realize how it could actually work. And on top of that it's a great f***in' night."
With Pearl Jam having just begun a short U.S. tour that was built around Bonnaroo, Vedder expressed shock at picking up the daily newspapers in each city and finding little to no media coverage of the Iraq War.
He later dedicated the song "No More" to friend Tomas Young, the paralyzed Iraq War vet featured in the new film "Body of War." Amid the war continuing, Young's health has taken a turn for the worse in the past couple of weeks, and Vedder admitted that has made it "a lot harder to be happy" these days.
But the band still drew and sustained one of the biggest main-stage crowds ever seen at Bonnaroo, the masses stretching well beyond those who showed up to see Metallica the night before. Even Vedder was a bit awed by the size. In between songs, when he glimpsed just how far back the crowd extended, he thanked the audience a second time for listening.

Agnostic Front

Agnostic Front   
Artist: Agnostic Front

   Genre(s): 
Other
   ROck: Alternative
   Rock: Punk-Rock
   Alternative
   Rock: Hard-Rock
   Punk
   



Discography:


Warriors   
 Warriors

   Year: 2007   
Tracks: 14


Another Voice   
 Another Voice

   Year: 2004   
Tracks: 14


Working Class Heroes   
 Working Class Heroes

   Year: 2002   
Tracks: 29


Working Class Heroes   
 Working Class Heroes

   Year: 2002   
Tracks: 29


Dead Yuppies   
 Dead Yuppies

   Year: 2001   
Tracks: 14


Riot, Riot, Upstart   
 Riot, Riot, Upstart

   Year: 1999   
Tracks: 17


Dropkick Murphys Agnostic Front   
 Dropkick Murphys Agnostic Front

   Year: 1999   
Tracks: 4


Something's Gotta Give   
 Something's Gotta Give

   Year: 1998   
Tracks: 18


Raw Unleashed   
 Raw Unleashed

   Year: 1995   
Tracks: 63


Last Warning   
 Last Warning

   Year: 1993   
Tracks: 21


To Be Continued   
 To Be Continued

   Year: 1992   
Tracks: 19


One Voice   
 One Voice

   Year: 1992   
Tracks: 12


Live At CBGBs   
 Live At CBGBs

   Year: 1989   
Tracks: 19


Live at CBGB   
 Live at CBGB

   Year: 1989   
Tracks: 19


Victim In Pain   
 Victim In Pain

   Year: 1986   
Tracks: 11


Cause For Alarm   
 Cause For Alarm

   Year: 1985   
Tracks: 10


United Blood   
 United Blood

   Year: 1983   
Tracks: 10


Liberty and Justice For   
 Liberty and Justice For

   Year:    
Tracks: 11




At the dawn of the '80s, New York City was mired in debt and crime, wrestling with 1 of the virtually trying periods in its history, even ironically (or peradventure fittingly), its tube music view was seething with activity like never in front. Still reeling from the violent origin and subsequent implosion of punk rock, hundreds of underprivileged kids living in Manhattan and its outlying boroughs began forming john Rock groups to rail against the everyday trials, dangers, and prejudices of urban being. As had been natural event in other urban centers (most notably L.A. and Washington, D.C.) equally unnatural by the list, recession-laced early long time of Reaganomics, New York became a thaw pot/hub for a prospering hardcore scene -- a cultural phenomenon that used punk careen as a weapons platform for politically charged, inherently regional musical catharsis.


And though it would finally sliver into infinite subgenres, at least ab initio NYHC (Novel York Hard Core) far superseded the original touchwood movement's ragged collective (known as much for nontextual matter bikers like Talking Heads and Television as it was for "true" punks like the Ramones and Dictators) in footing of a cohesive creative vision. Among the bands at the forefront of this joined, seemingly unstoppable united States Army were Agnostic Front, whose frantic, minimalist violation and sociopolitical rants came to epitomize the heart of hard-core, New York f*ckin' City style.


Guitarist Vinnie Stigma was a first-generation punk rocker rocking chair and an early-'80s skinhead wHO finally got around to forming his own band, Zoo Crew, in mid-1982, with singer John Watson. But Watson just lasted a few months in front being replaced by Cuban-born Union City, NJ, native Roger Miret, a product of refugee parents with firsthand see in social injustice and opinionated views just about political science coursing through his veins. When combined with Stigma's fundamental rhythm guitar furiousness, Miret's personal magnetism as a decadent urban messiah would come to personify AF's sound. Bassist Adam Moochie and drummer Ray Beez joined presently after and, after adopting the unexampled diagnose Agnostic Front (at Stigma's insistence because he opinion it sounded like a motion), they recorded their showtime independent tone ending, the United Blood EP, the following class. This was followed by 1984's career-defining Victim in Pain album, which contained a 15-minute blast of pure New York hard-core and saw the reaching of new members Rob Kabula (freshwater bass) and Jimmy Colletti (drums). It also confirmed Agnostic Front's brief condition as leaders (on with precursors the Cro-Mags and Murphy's Law) of the already cresting trend, which set up its weekly show window via the now fabled Sunday matinees at favorite Lower East side haunts A7 and CBGB's.


Just Agnostic Front were always on the verge of collapse due to Miret and Stigma's erratic family relationship and, like almost of their hardcore brethren, were already tampering with their sound. Inevitably, as their musicianship continued to improve, the bandmembers (at present including drummer Louie Beatto and extra guitarist Alex Kinon) began losing some of their cutting hardcore spontaneousness, and with heavy metallic element growing in popularity day by day, it was no surprise when they started experimenting with the tightly controlled velocity of thrash alloy (i.e., buzzsaw riffing and dual kick drums). Coincidentally picked up by the velocity metal-friendly Combat Records, they struggled through the sessions for what would turn 1986's Causa for Alarm album, today acknowledged as a crossover landmark alongside efforts by D.R.I. and Corrosion of Conformity. It was too considered a betrayal and a parody by many of the band's early supporters, world Health Organization couldn't have cared less that Cause for Alarm was teaching thousands of metallic element heads to value hard-core.


Some saw 1987's subsequent Liberty & Justice For..., which featured an completely revised cast of musical accompaniment musicians in guitar player Steve Martin (no relation), bassist Alan Peters, and drummer Will Shepler and did away with the metal-style drumming to follow a looser, less disciplined commission, as an act as of compromise. Not that it mattered: the original hard-core view had pretty a great deal disintegrated by this time anyways, with growing dissonance among the movement's many factions (straightedge, skinheads, etc.) transforming most concerts into armed combat, and preeminent to many clubs existence close down. Released in 1989, Unrecorded at CBGB's (with new bassist Craig Setari) self-collected Agnostic Front's best-loved corporeal as heard in the band's lifelike component and, in a means, symbolized the NYHC's official wake. As if to punctuate that fact, Roger Miret was arrested shortly thereafter on serious drug charges and sentenced to closely two days in prison house.


In the meanwhile, Vinnie Stigma and Agnostic Front carried on as topper they could, undertaking their first European spell with modern guitar player Matt Henderson and substitute singer Alan Peters, piece Miret found solace writing lyrics about his predicament. These would incorporate the bulk of 1992's comeback album, the overtly metallic One Voice, which was pretty much dead on comer, since a great deal of Agnostic Front's following had moved on to other things during the band's extended absence. A greatest-hits rig entitled To Be Continued was too issued at this time, prompting Agnostic Front to call it a day next a farewell concert at (where else?) CBGB's. The final picture was recorded for 1993's Concluding Warning, after which Stigma and Henderson formed Madball with Miret's jr. brother Freddy Cricien.


Come 1997, even so, Stigma and Miret began discussing a possible return for Agnostic Front. And when top thug pronounce Epitaph Records showed involvement, the band's long-rumored resurrection became fact, with other members Rob Kabula and Jimmy Colletti complemental the batting order that recorded both 1998's Something's Gotta Give and 1999's Debauch, Riot, Upstart in flying successiveness. The latter boasted an particularly strong go under of retro-hardcore, and featured guest appearances from M.O.D.'s Billy Milano and Rancid's Lars Frederiksen, among others. With the hardcore scene that they'd helped build effectively dead in the stain, few listeners international the band's New York stomping grounds seemed to care just about their repay, just Agnostic Front persist in to perform and record periodic albums like 2001's Beat Yuppies (with new bassist Mike Gallo), 2003's On the job Class Heroes, 2005's Some other Voice and 2006's CD/DVD Unrecorded at CBGB's.





Madonna's Brother Pens 'Brutal' New Book

Happymen vs. Gala

Happymen vs. Gala   
Artist: Happymen vs. Gala

   Genre(s): 
Other
   



Discography:


Freed Form Desire   
 Freed Form Desire

   Year: 2003   
Tracks: 5




 






Calyx and Kontrol

Calyx and Kontrol   
Artist: Calyx and Kontrol

   Genre(s): 
Drum & Bass
   



Discography:


Set Me Free / Drums Take Control   
 Set Me Free / Drums Take Control

   Year: 2006   
Tracks: 2




 





Transvision Vamp

Stevie Wonder embarks on "magical" summer tour

LOS ANGELES (Reuters) - Grammy-winning pop star Stevie Wonder is on the road again, embarking on what he called a concert tour in the "magical" summer and spreading a message of unity among all religions and races.


The Motown icon, whose hits include "Superstition" and "My Cherie Amour," played the first date of his 14-city North American tour Wednesday in Long Island, New York, and on a conference call with reporters on Friday, he said it was "nice" to be playing again.


"Performing in the summer is always fun, there's something magical about the summer," he said.


The brief tour ends July 12 in Canada, and comes on the heels of his successful road show in 2007 that was his first series of concerts in more than a decade. Other stops on the current tour include Chicago, Detroit and Los Angeles.


As he goes back on the road, the 58-year-old Wonder said his message is unity.


"I think that we have to really come together for the common ground and be about the perpetuation of life," Wonder said. "No matter what religion or color or ethnicity that we are, we have to be about the perpetuation of life."


He also plans to tour Australia in spring 2009, and after that Europe in late summer into early fall.


Wonder has won 25 Grammy Awards and sold more than 100 million records. An inductee in the Rock and Roll Hall of Fame, Wonder released his first album at age 12. 

Nelly and Ashanti Not Engaged

Speculation of an engagement between singer Ashanti and her rumored boyfriend rapper Nelly has been put to rest, with the songstress telling a U.S. publication that they are simply “good friends”.
Reports of a romance between the pair pops up from time to time, however, Ashanti has downplayed the talk, telling People.com, “Me and Nelly, we’re good friends. We kick it � hang out a lot. The industry is very hard, so it’s good to have fun and lighten it up.”
When asked if she had become engaged to the rapper, Ashanti held up her left hand waving a ring-less finger saying, “Oh no. Noooo! No engagement. But definitely in the future.”
Photo courtesy of Universal Music.


Matt Pokora

Matt Pokora   
Artist: Matt Pokora

   Genre(s): 
Rap: Hip-Hop
   



Discography:


De Retour   
 De Retour

   Year: 2006   
Tracks: 2




Like Justin Timberlake in front him, France's M. Pokora rehabilitated his boy-band pinup image by channeling the pop up and R&B influences of his youth to create a slickly modern interpretation of white-haired mortal. Born Matthieu Totta in Strasbourg on September 26, 1985, he first base earned attention as a appendage of the rap group Mic Unity, which in fall 2003 appeared on the megahit television system show window Popstars. Totta was such a crowd favorite that Popstars' producers installed him in a spinoff boy band called Linkup. The trio's debut single, "Mon Étoile," topped the French charts, but the followup, "Un Seconde d'Éternité," flopped and when their debut LP, Notre Étoile, met a similarly forbidding fate, the show pulled the plug. Totta presently resurfaced as Matt Pokora, enjoying newfound creative and commercial success by teaming with hip-hop producers Kore & Skalp to record his self-titled 2005 debut, a major hit buoyed by the singles "Showbiz" and "Elle Me Contrôle." In the waken of the disc's winner, French vocalizer Matt slapped Pokora with a causa, claiming the similarities 'tween their names and music was the source of market place confusedness. As a resultant role, 2006's Bionix-produced Instrumentalist arrived credited to M. Pokora.





Marques Houston

"Battlestar" heading to handheld galaxy

LOS ANGELES (Hollywood Reporter) - Get ready to fight Cylons with your thumbs.


Universal Pictures has released a mobile phone game based on Sci Fi Channel's "Battlestar Galactica." The company's Digital Platforms Group is partnering with publisher Glu Mobile for the downloadable game, which can be purchased via such carriers as Verizon, T-Mobile and AT&T.


Depending on the user's carrier, the game will cost about $3 to play for a month, or about $8 to buy outright.


In the space-based shooter, players can pilot three types of customizable Viper or Raptor ships while defending the human refugee fleet against relentless Cylon attacks. There are 24 playable missions, plus training missions.


Unlike some mobile games, "Battlestar" was designed from the ground up for fans of the show rather than using an existing game platform and simple adding the show's graphics, said Jeremy Laws, senior vp mobile and broadband at Universal.


After a sluggish start, mobile game extensions have become a more significant revenue source for studios in recent years as the U.S. makes gains in distributing more advanced cell phone technology. A game is generally considered a hit if it surpasses 1 million downloads, a hurdle Laws expects "Battlestar" to clear. Universal has released mobile games for such shows as "Heroes," "Law & Order," "Top Chef" and "The Office."


The company also did a more rudimentary "Battlestar" mobile phone game four years ago to promote the show's debut season, but it mainly used graphic elements from the original 1970s series.


"These games are played globally -- anywhere the show is popular, the game is popular," Laws said. "The second biggest market for 'Heroes,' for instance, was in Turkey. But even though we've come a little late to the game, the U.S. has become a dominant market."


Reuters/Hollywood Reporter



Minutemen

Minutemen   
Artist: Minutemen

   Genre(s): 
Rock: Punk-Rock
   



Discography:


Ballot Result   
 Ballot Result

   Year: 1987   
Tracks: 27


Tour Spiel   
 Tour Spiel

   Year: 1985   
Tracks: 4


Project Mersh   
 Project Mersh

   Year: 1985   
Tracks: 6


Sound Factory   
 Sound Factory

   Year: 1984   
Tracks: 20


Double Nickels on the Dime   
 Double Nickels on the Dime

   Year: 1984   
Tracks: 43


Buzz or Howl Under the Influence of Heat   
 Buzz or Howl Under the Influence of Heat

   Year: 1983   
Tracks: 8


Bean Spill   
 Bean Spill

   Year: 1982   
Tracks: 5


The Punch Line   
 The Punch Line

   Year: 1981   
Tracks: 18


Joy   
 Joy

   Year: 1981   
Tracks: 3


Paranoid Time   
 Paranoid Time

   Year: 1980   
Tracks: 7




More than whatever other hard-core band, the Minutemen epitomized the rationalism independent ideals that formed the core of punk/alternative music. Wildy eclectic and politically revolutionary, the Minutemen never stayed in one seat to a fault long; they touched from toughie to free malarky to funk to folk at a glaring swiftness. And they toured and recorded at glary speed; during the early '80s, they were always on the route, turning out records whenever they had a prospect. Like their peers Black Flag, Hüsker Dü, R.E.M., Sonic Youth, and the Meat Puppets, the Minutemen built a magnanimous, dedicated cult following end-to-end the United States through their unrelenting touring. Like their mate American indie bands, the trio was poised to break into the world of major labels in 1986, and they would have if it wasn't for the tragic death of guitarist/vocalist D. Boon in December of 1985. Even though bassist Mike Watt and drummer George Hurley carried on with fIREHOSE in the late '80s, the legacy of the Minutemen overshadowed the new band in the late '80s and early '90s, as the San Pedro trio influenced several generations of musicians.


D. Boon and Mike Watt began playing music when they were teenagers in the mid-'70s, coating '70s tough rock standards. After they calibrated from heights schoolhouse in 1976, they heard their first base punk rock records, which marked a substantial change in their musical exploitation. Once Boon and Watt heard punk, they began committal to writing their possess songs and distinct to form their number 1 full-fledged rock and roll & flap banding. In 1980, the copulate assembled a quartette called the Reactionaries, which featured drummer Frank Tonche and a second guitar player. Within a few months, their instant guitar player left hand and the band changed their name to the Minutemen, since most of their songs were non a great deal yearner than a minute of arc in continuance. They recorded one single with Tonche earlier he was replaced by George Hurley. After Hurley joined the band, the Minutemen recorded Paranoiac Time, their first EP; the record was released on SST Records in 1981. From the start, the band was eclecticist and political, but they didn't find their spokesperson until their first uncut album, 1981's The Punch Line.


Following the press release of The Punch Line, the Minutemen embarked on a punishing touring schedule, driving across America and playing whatever metropolis where they could sustain a gig. They were recording frequently, also. All of their major records appeared on SST Records, merely they besides issued selected tracks and EPs for other independent labels, start with 1982's Bean-Spill EP, which appeared on Thermidor Records. The band's second uncut album, 1983's What Makes a Man Start Fires?, earned them considerable critical herald passim the resistance and alternative compress. Later in 1983, they released their third gear album, Buzz or Howl Under the Influence of Heat.


By the end of 1983, the Minutemen had go one of the to the highest degree popular bands in the American underground, a status they solely reinforced upon during 1984. That twelvemonth, they delivered the double album Double Nickels on the Dime. The length of the album was a response to Hüsker Dü's 1984 double album Zen Buddhism Arcade, merely the expanded length gave the chemical group an opportunity to stretch out out and showcase their increasing musical depth and vision. Doubled Nickels on the Dime was a considerable metro hit, earning material college radio play and critical praise; many critics named it ane of the best albums of the year. Also in 1984, the isthmus released a aggregation of outtakes and unreleased material called The Politics of Time on New Alliance Records.


Throughout 1985, the Minutemen churned tabu recordings, beginning with the Tour-Spiel EP on Reflex Records. It was followed by the cassette-only retrospective My First Bells, which was released on SST. After My First Bells, the radical issued some other EP, Project Mersh, which featured covers of "commercial" arena rock bands plus several long original "spiels." Around the same time, the grouping recorded the Minuteflag EP, a one-off collaborationism with Black Flag. Finally, the Minutemen released the full-length followup to Dual Nickels on the Dime, 3-Way Tie (For Last), toward the end of the year. Like its predecessor, 3-Way Tie (For Last) received consuming positive reviews, including notices in mainstream publications.


In December of 1985, D. Boon and his lady friend were driving menage from peerless of her relatives' business firm, when they suffered a fateful automobile chance event. For the first part of 1986, Mike Watt and George Hurley were nerve-wracking to resolve whether they would continue playing music. During this time, the live Balloting Result was compiled and released. After a few months, both Watt and Hurley had decided to fall by the wayside medicine when they were positive to continue playing by a passionate Minutemen fan and guitarist called Ed Crawford. Watt, Hurley, and Crawford formed fIREHOSE in 1986 and by and by in the year, the new band released their debut album, Ragin', Full-On. fIREHOSE toured and recorded for the side by side seven age, sign language with the major label Columbia in 1991.





Don Cheadle given Spirit of Independence Award