Thursday, February 25, 2010
1. Enter Sandman
2. Sad But true
3. Holier Than Thou
4. The Unforgiven
5. Whatever I May Roam
6. Don't Tread On Me
7. Though The Never
8. Nothing Else Matters
9. Of Wolf And Man
10. The God That Failed
11. My Friend Of Misery
12. The Struggle Within
Origin:-Sayreville, New Jersey, Unityd States
Genres:-Hard rock, Heavy Metal,Glam Metal
Years active:-1983 present
Labels:-Island, Mercury, Mercury Nashville
Bon Jovi Discography
The discography of American
Bon Jovi's first commercial release was the single "Runaway" in 1983. It was taken from their 1984 self-titled debut album Bon Jovi which made a small impact in the US. Their second album 7800° Fahrenheit achieved even less success than it's predecessor, except in Japan where it reached the top 5 on the album charts.
The band's first major success came with the release of their third studio album Slippery When Wet. Released in 1986, the album became Bon Jovi's best-selling album worldwide selling over 25 million copies.. It reached number one in Australia, Canada and US where it spent 94 weeks in the Billboard 200 album chart, reaching 12× platinum status. The first two singles from the album, "You Give Love a Bad Name" and "Livin' on a Prayer", both reached number one on the Billboard Hot 100 singles chart. The follow up album to Slippery When Wet was New Jersey which shared similar global success. The album produced five top 10 hits on the Billboard Hot 100 giving Bon Jovi the record for the most top 10 singles spawned by a rock album. Two of the hits, "Bad Medicine" and "I'll Be There for You", managed to reach number one.
Bon Jovi's fifth studio album Keep the Faith released in 1992 marked a change in the band's sound. The album proved to be a success, especially in Europe and Australia where it reached number one. It produced the top 10 hit "Bed of Roses" while the title track hit number one on the Mainstream Rock Tracks. In 1994, Bon Jovi released a 'greatest hits' album titled Cross Road, with two new tracks. The first single off the compilation, "Always", spent six months on the top 10 of the Billboard Hot 100, certified platinum in the United States and became Bon Jovi's highest selling single. The compilation album would be the last release to feature bass player Alec John Such. Despite the departure of Such, the band released their sixth studio album, These Days, a year later in 1995. The album fared better internationally than in the United States, but still managed to reach Platinum status by the RIAA. Following the tour of the album, the members of the band went their separate ways.
Bon Jovi regrouped in 2000 and released their seventh studio album Crush. Despite a nearly 5 year hiatus, the album was just as successful as their previous releases. It became the band's fifth and fourth consecutive number one album in Australia and UK respectively and reached double platinum in the United States. The success of the album was largely due to the lead single "It's My Life" which was nominated for a Grammy Award for Best Rock Performance by a Duo or Group while the album itself was nominated for Best Rock Album.
The band soon returned with an eighth studio effort in 2002, Bounce. It debuted at number two on the Billboard 200, making it Bon Jovi's highest debut in the band's 20 year history. This record was beaten however with the band's ninth studio album Have a Nice Day in 2005. The title track was an international hit reaching the top 10 in Australia, Europe and UK. Another track, "Who Says You Can't Go Home", reached number one on the US Billboard Hot Country Songs after being remixed into a country duet with Jennifer Nettles. The duet earned Bon Jovi a Grammy Award for Best Country Collaboration with Vocals. The single gaveway to the band's tenth studio album in 2007, Lost Highway, which was a Nashville-influenced record. The album became the first Bon Jovi album to debut at number one in the United States, making it the band's first number one album in their home-country since the late eighties. Although the album achieved great success, winning them a Grammy nomination for best Pop Vocal Album, the band returned to their rock roots in 2009 with their eleventh studio album The Circle. The album also debuted at number one on the Billboard Hot 100, making it the band's fourth number one album in the United States. The lead singles from both Lost Highway and The Circle received Grammy Award nominations for Pop Performance by a Duo or Group with Vocal. The lead singles were "(You Want to) Make a Memory" and "We Weren't Born to Follow", respectively.
- Current members
- Jon Bon Jovi – lead vocals, guitar (1983–present)
- Richie Sambora – guitar, backing vocals, talkbox (1983–present)
- Tico Torres – drums, percussion (1983–present)
- David Bryan – keyboards, piano, backing vocals (1983–present)
- Hugh McDonald – bass, backing vocals - unofficial member (1994–present)
- Touring musicians
- Bobby Bandiera – guitar, backing vocals (2003–present – live only)
- Jeff Kazee – organ, additional keyboards, backing vocals (2003–06 – live only)
- Lorenza Ponce – violin, backing vocals (2007–09 – live)
- Former members
- Alec John Such – bass, backing vocals (1983–94). Alec made one live appearence in 2001 with Bon Jovi since his departure, in Giant Stadium for the song Wanted Dead or Alive.
Sunday, February 14, 2010
Genres:-Blackened death metal,black metal(early)
Labels:-Music Blade,Muclear Blast,Wild Rages,Pagan,AdvantragadeMusic,Regain,Century Media
Zbigniew Robert Prominski
Patryk Dominik Sztyber
Behemoth is a Polish blackened death metal band from Gdansk, formed in 1991. They are considered to have played an important role in establishing the Polish extreme metal underground, alongside bands such asVader, Decapitated,Vesania and Hate.Until the late 1990s, the band played a traditional black metal style with heathen lyrical content, but soon changed to that of occult and thelemic themes written by their lead vocalist Nergal and Krzysztof Azarewicz. With the 1999 release of Satanica, the band showed their presence in the blackened death metal scene, while retaining their own signature style characterized by the drum work of Inferno, multi-layered vocals andNile-styleMiddle-Eastern influences. Even though Behemoth has been labeled as death metal, black metal or thrash influenced, Nergal has mentioned that he doesn't like the band to be labeled.
In July 2007 the All-Polish Committee for Defense Against Sects distributed a list of bands that allegedly promote Satanism and murder to many Polish officials. Critics of this policy primarily see this as a violation of free speech, with the most scathing criticism generally emanating from within the metal community. As of present, the list has not gone into effect, and Behemoth is still allowed to play in Poland freely.
- Adam "Nergal" Darski – vocals, guitars, acoustic guitar, synthesizer, programming (1991–present) bass guitar (1991-1992, 1993-1997, 1999–present)
- Tomasz "Orion" Worblewski – bass guitar, backing vocals (2004–present)
- Zbigniew Robert "Inferno" Prominski– drums and percussion (1997–present)
- Patryk "Seth" Sztyber – guitars, backing vocals (2004–present)
- Leszek "L.Kaos" Dziegielewski (1995–1996, 1998–1999)
- Adam "Desecrator" Malinowski (1991–1992)
- Mateusz "Havoc" Smierzchalski (2000–2004)
- Rafał "Frost / Browar" Brauer (1992–1993)
- Mefisto (–1998)
- Orcus (1993)
- Matcin "Novy" Nowak (2000–2003)
- Adam "Baal" Ravenlock" Muraszko (1991–1997)
- Session keyboard
- Piotr Weltrowski
- Maciej Niedzielski
- Robert "Rob Darken" Fudali (1992–1994)
- Studio albums
- Seventevith (Stroming Near the Baltic)(1995)
- Gorm (1996)
- Pandemonic Incantations(1998)
- Thelema.6 (2000)
- Zos Kia Cultus (Hera and Beyond) (2002)
- Demigod (2004)
- The Apostasy(2007)
- Evangelion (2009)
10.Mastodon, Leviathan (2004):-In an age where metal has become ludicrously heavy and challenging (and Mastodon is right up there with the best of them), Leviathan presented a bold and colorful image that was also literary and had nothing to do with tired metal clichés. This was nice art, and smart art, and, as a bonus, the lush, fresh beauty of the cover concept continued right on through the booklet.
9.Tool, Lateralus (2001):-Tool has always excelled with their packaging, and Lateralus demonstrates what you can do with CD packaging if you apply some gray matter. The booklet is simply all plastic — essentially, those cool overlay sheets of the human body in the medical texts you used to play with in school. Add a bit of psychedelia and a mysterious plastic overwrap, and you've got the perfect Mensa-mad visual for Tool's geometric metal movements.
8.Dimmu Borgir, Spiritual Black Dimensions (1999) :-Most of the modern Dimmu covers could have made this list, but this one strikes a nice balance between the swanky and the evil, exuding upscale black metal as well as a modern use of color and precision. Black metal's early covers were as crude as the recording values within, so to represent that genre, one arguably had to lean toward the classier bands working fully in the digital-art age. Cradle's covers are also quite fetching, and of course, both these bands are looked upon as far from kvlt.
7.Slayer, Reign in Blood (1986):-Signaling a sea change away from clichéd, air-brushed illustration, Reign in Blood used a chaotic cutout technique with rich, dark colors. The class and gravitas of the painting foretold the weight the record would carry, and many now call it the greatest thrash album of all time. Oddly, it didn't exactly match the music enclosed, being doomier and more claustrophobic than the freeing speed within. Call it an adjunct, an extra piece of art to a 28-minute-long record that needed it.
6.Poison, Look What the Cat Dragged In (1986) :-This is one of those "best of the worst" arguments. But it's here because Poison concocted the most shamelessly glam look out of anybody, then laughed all the way to the bank — a case of extreme going mainstream. Look What the Cat Dragged In has the band looking like hot chicks, and ushers in the big hair and spandex that only Kurt Cobain could crush years later. None of the manly bits of metal enter this four-square picture, leaving only the incongruous name of the band to dish belligerence. OK, OK — this entry is what they call a little light relief.
5.Judas Priest, Screaming for Vengeance (1982):-This was Priest's biggest album, but the shocking yellow commerciality of the cover art was a strong image that helped push the band to new heights on the backs of "You've Got Another Thing Comin'" and "Electric Eye." The cover, with its pleasingly sculpted bird, would spawn two more similar graphics, Defenders of the Faith and Turbo, completing a triptych of memorable and pliable shirt-ready images.
4.Iron Maiden, Killers (1981):-Eddie is the ultimate metal mascot, and Killers is his finest hour. Derek Riggs was astonishingly versatile with his colors over the years, but Killers makes lurid use of his trademark blacks and yellows, colors gleaned from the damp and mysterious streets around London in which he lurked at night, due to his insomnia. On the debut, Eddie was a bit stunned, but on Killers, he's a metal maniac out for vengeance.
3. Motorhead, Overkill (1979):-This had been the heaviest record ever to date, so right off the bat, the cover carried that significance. But Joe Petagno rose to the challenge, turning in the iconic version of the band's death mask, which to this day represents the band almost as much as Lemmy does. The colors were bright, the piece had motion and the expert use of text added to the unifying (and very heavy metal) feel of the whole.
2.Kiss, Alive! (1975):-Yeah, yeah, yeah: The Beatles and Elvis inspired guys to pick up guitars, but Kiss — and Kiss in the very act depicted on this front cover — were the ones to perform that function for the loads and loads of metalheads that ruled the '80s. Alive! showed Kiss trouncing Alice Cooper but good, and beyond the Oakland Raiders-on-acid look of it all, this was also a nicely composed and arranged picture. Alive! demonstrated the potential of metal graphically: simple, but with carnality.
1.Black Sabbath, Sabbath Bloddy Sabbath (1973) :-Sabbath's debut was quite an important original metal piece, but Sabbath Bloody Sabbath blew the doors off any sense of subtlety, with the band capitalizing on the satanic hysteria of the day already fanned by the arrival of The Exorcist and the exit of the Age of Aquarius. Full-on evil on the front, eerily serene on the back, this one's been the subject of involved conjecture since the day it arrived.
Tuesday, February 2, 2010
|Megadeth Song:||Metallica Song:||Similarity:|
|Looking Down the Cross||Ride the Lighting||Riff|
|Mechanix||The Four Horsemen||Whole song|
|In My Darkest Hour||For Whom the Bell Tolls||Opening riff|
|Hangar 18||The Call of Ktulu||Riff|
|Dawn Patrol||The God That Failed||Riff|
|This Was My Life||Phantom Lord||Bass riff|
|She-wolf||Disposable Heroes||Opening riff|
|When||The Call of Ktulu||Opening riff|
|Go to Hell||Enter Sandman||Riff and lyrics|
By 1990, Mayhem was regularly wearing corpsepaint; many other black metal acts also adopted the look. Bathory inspired the Viking metal and folk metal movements and Immortal brought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s, with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandinavian metal underground shifted to support a black metal scene that resisted being co-opted by the commercial metal industry. According to former Gorgoroth vocalist Gaahl, "Black Metal was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."
By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland. The 1993 murder of Mayhem's Euronymous by Burzum's Varg Vikernes provoked intensive media coverage. Around 1996, when many in the scene felt the genre was stagnating, several key bands, including Burzum and Finland's Beherit, moved toward an ambient style, while symphonic black metal was explored by Sweden's Tiamat and Switzerland's Samael. In the late 1990s and early 2000s, Norway's Dimmu Borgir brought black metal closer to the mainstream, as did Cradle of Filth, which Metal Hammer calls England's most successful metal band since Iron Maiden.
The first heavy metal bands such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".
In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of funk and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.