Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) download full album zip cd mp3 vinyl flac


Download Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD)
2001
Label: Universal Music TV - 585 091-2 • Series: Max Power • Format: CD Compilation CD Compilation, Enhanced • Country: UK • Genre: Electronic • Style: Progressive House, UK Garage, Hard Trance, Progressive Trance, Hardcore

In fact, much of this track CD sounds like Matchbox For those unfamiliar with Matchbox 20's sound, Cardinal Trait plays mainstream, melodic, sensitive power pop that pretends to be rock. He now lives in NYC, but that hasn't seemed to jade him. This track collection of songs is a mix of Americana folk and rock and a dash of Celtic charmwith socio-political lyrics dominating most of the music. But Neill's lyrics aren't immature rants against war or deforestation. Instead, he gets his message across by telling stories, not unlike Billy Bragg.

Neill's welcoming, honest vocals make his music that much easier to absorb; I imagine him at a party just picking up a guitar and starting to play. If I were there, I'd be singing along in no time. This is a band that has survived the demise of ska's popularity, and flourished in its aftermath. Their music is as bouncy and in your face as ever, and the DVD includes tons of extras, including three music videos.

Recorded in the revolutionary "Compact Dick" format, these often hilarious songs are more than up to the task of kick-ass rockin'. Hawkins plays a slow and detailed guitar-picking style with a folk-country vibe. This is simply one man's collection of deeply felt songs with a guitar and some time and emotions to kill. A good sound that requires you to be in such a mood as the album provides.

Combining schitzo-synth and industrial garage-rock, it's all meshed together like it belongs together. By the time you get to the trippy intro and bi-polar journey on "Keeling Where the Mrs. Sleeps," you've already been mind boggled by the chaos of the first two tracks. The fun doesn't stop there though; this album continues to bend the brain with effects and noises that make for an unusual ride. With songs clocking in at over 12 minutes, one can only imagine the damage this band can evoke on the world.

Comity does a great job keeping the listener's attention throughout the whole album, which is a feat in itself being that the songs are so great in length. I strongly recommend this album to pretty much anyone with ears or to fans of This Building is Cursed or Emperor. The vocals remind me a lot of the guy from Bare Naked Ladies. The music is pretty mellow, definitely not as uptempo as BNL; it's kinda jangly and dramatic. Or is it just me?

Anyhoo, Bachmann continues his post-Archers existence still sounding like a grizzled, drunken Neil Diamond. But hey, it works for him, and I for one dig it! Bachmann's songwriting continues to grow, as his songs on Dignity and Shame take on a Springsteen-like anthem quality. This is another impressive step in the evolution of Eric Bachmann. The organs add a touch of blues to the already unique sound.

This is like a fuzzed out, amp'd up version of the Rolling Stones. I can only imagine how beer and sweat-soaked their live shows must be. Devolver is an incredibly innovative Bay-Area duo, defying convention with their haunting vocals which wail oddly in the ever-restructuring peaks and valleys of the minimalist music. It feels. It's right. This shouldn't deter true fans; they are a really solid band. But their hook-laden pop sensibilities may be their downfall. They're a bit too sweet for my tastes.

An interesting mesh of sounds makes this hard to put into one genre. So this isn't the most amazing album I've ever heard, but it's different and worth a listen just for their musical meshing of styles. On this release from the Dutch Elms, the four-piece out of the Northwest is full of harmonies, as each provides their own vocal spin.

They also trade instruments back and forth to create an AM radio vibe that will take you back to the '50s and '60s, but not with enough pizzazz to keep you there. Former Smoking Popes members Josh and Eli Caterer join forces with Rob Kellenberger to recreate traditional songs that may inspire holiday flavor for the unconventional, nonconforming individual. Soothing vocals and punctuating instrumentation add depth to a number of classics. There is an awesome picture of a beautiful topless girl inside, the Stephen Roach photo "Knot", a bonus for those who inquire like me.

These guys are mellow, but good at what they do. The drumming is incredible in the opener "Errance", with its Appleseed Cast feel.

If you were a fan of the "emo movement" then this record is for you. All Harm Ends Here could be the perfect soundtrack to a long car trip.

Although in the future it wouldn't hurt these guys to beef up the tempo and wake up the people who fell asleep in the car listening to them.

The vocals in most of the songs come across like the harmonies entwined on a Sunday's Best record. There are very few moments when it is just one vocal and that takes away from the overall sound of the record.

Most of the songs lack any type of pop structure format and are way too long for their own good this may be what they were going forbut whatever. Examples are all throughout the album, but in particular on tracks like "Name the Animals" and "On Thin Ice. Not much has changed over those many years.

This eight-track EP features two new songs, four rare songs from overseas releases and three cover songs tunes originally by The Nomads, The Sex Pistols and Black Sabbath. If you're looking for sweaty, aggressive, no-frills rock and roll, EF is waiting for you. As their friendship grew, so did their musical talent. They released four independent recordings before adding a bass player and additional guitarist, as well as forming Forever Records. The Unlovable EP was the second release on this new label.

Their sound Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) reminiscent of the Cure and the Smiths though the EP in question is very mellow and has an even tempo all the way through.

If you want to listen to something that will lull you to sleep, then this is definitely for you. It's hard to dislike the hypnotic sounds recorded by Matthew Cooper under the Eluvium moniker. Washes of repetitive guitar loops and unrecognizable sounds pull you in and its hard to keep from drifting away. It's almost like lying in the middle of a forest, listening to the sounds of the leaves rustling. Her voice, with backing harmonies, is beautiful and full of soul. The music is all over the place.

They definitely try to give the female folk sound a new lift. Of course there is a lot of folk feel to this 70 minute album, but they explore jazz, rock, swing, hip-hop, latin and reggae. They even have a spoken word song they label "porn funk. Aside from the home-studio sound, which makes it hard to thoroughly enjoy, this project is intriguing.

The opening track begins the album in a drug-era Beach Boys way, and then moves on to an under produced, guitar-heavy outrage before settling with an acoustic vibe and backward sound samples. The intimate drama unfolds with the background music, mostly keyboards, adding punctuation to the tale that Larsen tells. These degrees of emotion are of course entirely based around the story of a boy meeting a girl, and the deceit and violence that ensue.

The punk rock sounds on their Diaphragm Records debut will become a smash locally, or at least It won't be hard to miss the cover which features a photo of two naked girls from neck to waistline holding their breasts for the camera. The David Bowie cover "Moonage Daydream" is a good starting point to hear what this band is about, but other than that, not much really stands out.

It's badly recorded and really doesn't have that hook to capture the listener, which I initially look for in any record I give a fair chance. It has a very cool lead in distorted guitar intro followed by a second clean guitar with a John Frusciante feel to it which sets the pace for the remainder of the track. The mellow "Found You Out" has a beautiful undertone with just the right electronic beat to carry it in perfect sequence with the EP.

Drop the first song and this is a cool little EP. Fax Arcana adds a little more punch to their sound and has a lot more to decipher than does The Disease. They should have just put out eight tracks of their own, though what is provided here seems to be enough. But they are probably the most well known and successful and their success has spawned an increase in hip-hop bands, actual musicians backing MCs, as opposed to producers crafting beats and DJs cutting records.

This is a great thing. MC'ing and live instrumentation go together like peanut butter and jelly. Hip-hop music is full of energy, but often muted by the manufactured beats and repetitive loops. Live instruments allow for more flexibility and make the music feel more honest, real and live. My ranting aside, attention turns to Cleveland-based Finless Brown, a skilled group of musicians, six deep, with drums, guitar, bass, turntables and two MCs.

The music Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) jazzy and thick with rhythm, rocking a head-nodding beat throughout the album's 13 tracks. The band draws its sound from eighties hair bands, and lace that style throughout their pop rock album. Accompanying the original tracks is a cover of Rick Springfield's "Jessie's Girl.

But if he's printing it, I should fucking take advantage of it, right? Fuck yes! So here are the Fuck You Ups. They clearly have no intentions of making it to stardom and why the fuck should they? Have you listened to the radio lately? Oh, by the way, this is fucking garage punk and it's fucking good. Check it out, fucker. Armed with a low-fi sound and a style that blends the line between sarcasm and reality, this Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) created by Casey Brandt is full of spaced-out tendencies from an innovative musician.

Expect a lot of jangly guitars and the mix of folk rock and pop. It's no wonder that Beck,? This release is an ode to the days of cheesy movie soundtracks and disco parties of yesteryear, sure to help the cult following to grow.

How else would someone think to take the sometimes sweet sounds of electropop and synth music with the brutality of grindcore and metal?

No matter how it was conceived, this is an EP worth listening to. The juxtaposition of genres is jarring at times, but works in a weird way. Hailing from Los Angeles, Hardy vocals, guitars and Micah Calabrese drums, synths sound as natural together as it gets on this EP of driving indie rock. The steady dose of creative, rhythmic sounds on Lemona are both catchy and intriguing, adding slices of pop elements that roll smoothly song-to-song, without discrediting what they've set out to accomplish.

M, at other times to the Dead and then sounding like the latest song from Matchbox Grab a beer, throw this on and chill out.

This driving, powerful punk rock band has non-stop attitude that picks you up, throws you against the wall a few times, yells in your face, plays power chords, and then kicks you around the floor. Really, they play passionate, solid power rock like there's no tomorrow, and if I saw a live show of theirs, there probably wouldn't be a tomorrow, because my head would explode.

If you need the definition however, I would say that GP's sound is along the lines of mellow alternative rock. The band self produced the track disc which I always find admirable. The songs on this CD are not loud, obnoxious, and in your face. Instead, they are slowed down and well executed. This is some incredible live instrument hip-hop brought to you by four dope upstate New York fellas. The rhythms are infectious, contagious and mind numbing. You only get a taste, but it's good, addictive like crack.

Seriously, I'm jonesing for more. The vocal flow is tight, dancing over the incredible music. But it's all about the music, in the end; the jazz-hop style is mesmerizing, while still packing a nice beat-laden punch.

This is good music without any vocals; the vocals are just an added bonus for you to sing along with. It's late and you just want one more damned beer.

On the way home you spy a bar with about 20 Harleys outside. You figure, "Why not? This band plays rough, straight-ahead rock with Southern rock influence and huge chip on their shoulders.

If Harleys came with CD players, this would be the soundtrack. The steady doses of creative lyrics are the intriguing part to this release that musically compares to the moody tones of Simon, who is responsible for every sound within.

On "My Beautiful Blue," you wonder after he sings "I promise those bruises wont show in the morning" if he goes on about killing a girl or abusing her lifeless body, then the story unfolds further on "No. Ten artists were each given a track from The Young Machines to play with, and this album is the result.

But the bass guitar parts throughout this release are the attraction, as the rest is simply there. Track two reminds me of Luna. I'll stop there with the blatant comparisons. Hitchhike gives the listener five lovely, indie pop rock tunes on Night Light.

They are super catchy, mid-tempo gems, loaded with great guitars, plenty of feedback, a good bit of jangle and honest, unpretentious vocals. More specifically, it's about being on the losing end of teenage power balances, Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD), the end product of which is having become an interesting adult capable of more engaging art then their former nemeses.

In short, it is probably the most adorable revenge album ever made, dedicated to "all the girls who wouldn't couple skate" with them. It blended electronica and indie rock in a pretty cool way. I was therefore a bit disappointed to find out that this latest album shies away from the electronica. However, the album is still going to please Hood fans, and will probably gain them some new ones with the laid back vocals and relaxed sounds. Neither could I. All performed by one guy, this is a pretty impressive performance, to be sure.

There are slower, more melodic tunes as well as the more powerful gusty arias. His vocals ride shotgun to the mid-tempo, jazzy, pop rock that glides along in the background. Overall, the energy and sound on here calls to mind Matthew Sweet. This is Sunday afternoon, chillin' with a cold beverage on the deck kind of music. This time they've delivered their own fierce rhymes and orchestrated beats with drum kicks and layers of samples.

The gritty soundscape of Legacy Of Blood carries the release and goes hand in hand with the scruffy flows about beat-downs, Islamic beliefs and the contradictions along the way. Riffs take forever to finish, sometimes mimicking Type O Negative's oh-so-slow tempo.

His singing is sporadic and just as relaxed, sometimes almost hidden behind the waves of guitars that wash over you. This style of music is definitely not my thing to be commenting on for the simple fact that I find little enjoyment listening to it. As for the all-around sound of this band, I would not be surprised to see these guys competing for a spot on the next Ozzfest.

When he is not recording with Terranova or Ghost Cauldron, he records as a solo artist. This album of dance tracks has a European flavor to it, blending disco and funk with a little bit of rock. You can just imagine the crowds jumping up and down in Ibiza while this music thumps in the background.

Broadie sounds a lot like a guy influenced by the likes of Dylan and Petty, only he lacks originality while he sings personal, philosophical lyrics over unimpressive folk rock songs.

The overall vibe is depressing and self-indulgent, hard to follow with nothing to help you along musically. I am not sure at what, but every song is full of hatred. In true hardcore style, all the songs are very short and very fast. There are thirteen tracks on the disc but six of them are re-released from a previous EP that the band put out. This CD is good to listen to if you need to get pumped up.

It definitely gets your blood moving. I think the songs would be even better to see in concert though because of the energy behind them. Each one of the five members plays a variety of instruments, such as a bowed banjo, stand up bass, saxophone, keyboard and trumpet that all help add depth to the entire album.

The vocals are a bit gloomy, without being boring, as is much of the album. The rest of the album continues like a snowball effect to what has preceded it, with much depth and emotion. More good stuff from Omaha! Luke's back-up band jams out like an updated version of the old "boom-chica-boom" country songs, only with an indie rock attitude, and a Tom Waites cover song included. Their sound adds a perfect backdrop to the flawless vocals from Doucet, which paint pictures for the mind to match images to.

Songs sway between tempos that range from a night at the pub to a night on the couch. This release is a solid collection of well-performed tracks about a loner's confidence and what happens along the path as he journeys through relations and destinations. The imaginative basement sounds on this full-length release from Tycaon Pictus are a journey through dark free-form harmonies, gritty synth drones and thought provoking humor about the everyday workingman's grind through existence.

Heavily favoring the keyboard throughout, this three-piece dwells at the depths of emotions musically, before transitioning into bass guitars and beat box rhythms at a moments notice. All the while, these guys have created a conceptual soundscape that keeps you in for the finale. She has a good voice that goes along well with the album art picture of her lying on the concrete in her panties. Aside from that, not much stands out on this six-song EP that includes a cover of Prince's Raspberry Beret and generic background beats that make it hard to tell weather she's going for club jams or the pop charts.

CL Magnolia Electric Co. Trials and Errors is a live effort featuring old Songs: Ohia tunes. The melancholy country rock is reminiscent of Neil Young and Son Volt. Molina fans shouldn't have to wait long for new material, as a new full-length should be out sometime later this year.

This should definitely hold you over until then. After the opening track gets things off to a good start, the rest of the way is down a path called mediocre. Malkovich possess a punk rock rhythm with metal guitar wails that sound a bit bland, and concludes with few standout moments. However, the music is a blend of live instruments and electronic elements, making for a varied and tempo-changing mix of tunes.

Not every track uses electro-instrumentation; those that do remind me a bit of The Postal Service. This is dramatic, emotionally powerful and well orchestrated, particularly impressive for a one-man band. Similar to the pop hit songs put out by U2, the Rolling Stones or Tom Petty, elements of familiarity are present throughout this heart wrenching collection. The vocals are monotone at best, but without any feeling behind the lyrics and musical delivery.

The best part is that the song is about our pal and president, Dubya. The music is fast-paced punk rock with a raw energy and an understandably pissed off attitude. Slow, moody ambient textures flirt with feedback-laden noise fests, and some gritty fuzz rock.

Not for the faint of heart, Melk The G takes some getting used to, but the reward is worth the pain. Sure, it sounds bad, but PETA will be dancing gleefully in the streets when they hear these thirteen tunes most of which are about animals, not just using their flesh as clothing.

Men in Fur, which despite its name has female members, reside at the corner where indie pop and new wave meet. Now everyone chill the fuck out and dig some Men in Fur. On top lays the musical jumble that is produced by Ryan and bandmate David McDonnell.

They use live instrumentation and blend it with electronics and synths. This mostly instrumental sound is experimental, hard-charging, and hypnotic, all at once. The driving melodies reminded me of HRC, but the vocal harmonies were similar to that of Brandtson.

There are definitely some roots in bands like Alkaline Trio and maybe even some hardcore. It's hard to say because they have the token song where one guy screams while another guy sings.

I can't knock them, they do it well, but haven't I heard this band before? It's good fun catchy rock n' roll. So much for teachers not having a life outside of the classroom.

These guys can rock too. They play good pop rock music and their lyrics are easy to take in and understand. Not anything like what you might have heard in your English classes growing up. Although Heaven and Hell has a less ornamented construction, the heart of Minus Story is even more evident.

I've never been a fan of Glenn Danzig, and I don't know how the original compares, but Minus Story's cover of "Hybrid Moments" is awesome. I wish these guys a lot of luck getting their music out. Comparisons aside, this release is six-tracks worth of original rock music that has enough heartfelt energy to please emo fans while not falling short of simply being good rock and roll. Sure, six songs may not be enough to really get the party started, but it's a good warm-up.

It's a brilliant blend of electro punk and garage rock, power pop and sweaty rock and roll. They have a singer that sounds like a tortured velociraptor and the instrumentation of your most feared hardcore metal band. Although not completely ground breaking, I did really enjoy this album. Harp, contrabass, horns, vibraphone, and strings are just some of the instruments adding to the atmosphere.

The vocals are very mellow, as is appropriate for an album of such slow tempo. It's never easy, is it? I'm going to have to think on this one.

String arrangements, country twang, yet dark, this release defines category. I guess if the Rev. Horton Heat dropped the guitar, picked up a few violins and harp? See where this is going? You know what, just listen to this. It will challenge you to a. Good luck doing either.

Bottom line, these songs work. They're interesting, beautifully crafted and they even tell a story. Well done. This is a solid release of rebellion, full on tales about drinking, stealing and causing some chaos. The energy and sound here makes for a perfect soundtrack to the upcoming St. Patrick's Day festivities. Strong playing skills, powerful vocals, and infectious energy elevate this album above the crowd.

One caveat, though: as the album progresses, there is a disturbing element of mainstream alt rock that begins to creep in. Musically this CD is really sparse and somewhat too bi-polar for my taste.

Navar starts off with a mellow acoustic number, then opens up to straight-ahead rock, then falls somewhere in-between. Fans of Hootie and Seven Mary Three are going to dig this. Some of the songs rely on the monotonous voice of the singer and an acoustic guitar, while others lean more on the rock and roll side of their sound. They even throw in a short cover of the Beach Boys hit, "Barbara Ann. Retrieved 19 June The Guardian. The Sydney Morning Herald.

Retrieved 18 September Archived from the original on 30 May FOX News Network. The Hollywood Reporter. Prometheus Global Media. Retrieved 10 March Retrieved 1 November Retrieved 30 April Roger Nelson Prince, Controversy Music inc. Retrieved 02 May Retrieved 31 July Oxford University Press. Retrieved 22 January The Nation. Archived from the original on 15 May Retrieved 3 February BBC Manchester. Retrieved 7 January Spears, No. LEXIS ". Archived from the original on 14 February Selle, Plaintiff-appellant, v.

Barry Gibb, et al. Selle, Plaintiff-appellee, v. Justia Law. BBC News. Retrieved 19 May Entertainment Law Digest. Retrieved 2 May Retrieved 5 November Retrieved 2 December Duke University Press. My Soul. Heavy News. Michigan Rock and Roll Legends. The Mojo Collection. ECW Press. The Rough Guide to Rock. Rough Guides. Retrieved 12 August Rumba Magazine. Rock On Magazine in Spanish. Retrieved 17 December MPG Books. Retrieved 25 June The Calgary Herald. The Inquirer. Agence France-Presse.

Retrieved 17 February Light FM. Retrieved 9 January Retrieved 27 July MTV News. Coldplay are accused of plagiarism by American band". The Independent. Retrieved 11 November The Telegraph. National Legal and Policy Center.

Archived from the original on 24 May Archived from the original on 1 April Retrieved 31 March Retrieved 6 October Washington Post. Archived from the original on 4 Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) In the latter half of the s, Rundgren moved to Woodstock, New York, where Bearsville Records established a studio under Rundgren's direction.

He bought a home nearby and a property adjoining the studio was taken over as accommodation for artists who used the studio. The Woodstock complex became Rundgren's base until his eventual relocation to the Hawaiian island of Kauai in the s. That move was in part prompted by a violent home invasion at Woodstock in the late s, in which Rundgren and girlfriend who was pregnant at the time were tied up while the house was ransacked by a group of armed men.

According to Rundgren's account, the men appeared to believe that he possessed a large quantity of cocaine which he never used ; although the family was unharmed, the men stole some valuable items including a custom-made Alembic bass guitar. Todd recovered it years later after Alembic staff spotted it for sale on eBay and it was returned to him, but was by then so badly damaged that it could not be restored. After the prog-rock fusion homage, RaUtopia moved toward a more concise pop-oriented style with Oops!

During that year, Utopia also acted as the backing band for the Rundgren-produced Shaun Cassidy solo album Wasp. Rundgren disbanded Utopia in the mid s. During andRundgren attempted to tour with a true quadraphonic sound system, however it proved ultimately unworkable — despite successfully delivering high-quality sound in a concert setting — due to the enormous technical requirements involved.

Since most concert arenas of the day were ill-equipped to host large towers of sound equipment in the rear of the halls, the speakers often had to be hung from the ceiling rigging. This installation could take up to two days to complete, meaning that it was necessary to send two separate sound systems, each with its own, complete set-up crew, out on the road, so that they could "leapfrog" and allow Rundgren to play dates on consecutive days, which would have otherwise been impossible. The system featured a then-new technology called "signal analysis", which required white and pink noise to be pumped through the speakers, in order to set the active equalizers so as to minimize feedback and distortion.

The pink and white noise analysis had to be performed twice: once with the hall empty, and then again with the audience present, which many concertgoers found annoying. Additionally, Rundgren's insistence on personally overseeing the acoustic set-up of the system left him exhausted and unable to continue, and he pulled the plug on the experiment.

After he had stopped using it ca. His experience with computer graphics dates back towhen he developed one of the first computer paint programs, dubbed the Utopia Graphics System; it ran on an Apple II with Apple's digitizer tablet.

It is now considered one of Rundgren's most popular songs. Records, who issued his next album, A Cappellawhich was recorded using Rundgren's multi-tracked voice, accompanied by arrangements constructed entirely from programmed vocal samples.

InRundgren scored four episodes of the popular children's television show Pee-wee's Playhouse. Nearly Human and 2nd Wind were both recorded live—the former in the studio, the latter in a theater before a live audience, who were instructed to remain silent. Each song on these albums was recorded as a complete single take with no later overdubbing.

Both albums marked, in part, a return to his Philly soul roots. Rundgren was an early adopter of the NewTek Video Toaster and made several videos with it. The first, for "Change Myself" from 2nd Wind, was widely distributed as a demo reel for the Toaster. Later, he set up a company to produce 3D animation using the Toaster; this company's first demo, "Theology" a look at religious architecture through the ages featuring music by former Utopia bandmate Roger Powell also became a widely circulated item among Toaster users.

After a long absence from touring, Rundgren hit the road with Nearly Human—2nd Wind band, which included brass and a trio of slinky backup singers one of whom, Michele Gray, Rundgren married. He also toured during this period with Ringo Starr's All-Starr band.

The first of these, 's No World Order, consisted of hundreds of seconds-long snippets of music, that could be combined in various ways to suit the listener. The follow-up, The Individualistfeatured interactive video content, that could be viewed or in one case, played; it was a simple video game along with the music, which was more rock-oriented than No World Order.

Rundgren returned to recording under his own name for With a Twist His Patronet work, which trickled out to subscribers over more than a year, was released in as One Long Year. InRundgren released Liars, a concept album about "paucity of truth", that features a mixture of his older and newer sounds.

As the Internet gained mass acceptance, Rundgren, along with longtime manager Eric Gardner and Apple digital music exec Kelli Richards, started Patronet, which offered fans patrons access to his works-in-progress and new unreleased tracks in exchange for a subscription fee, cutting out record labels.

Since then, Rundgren has severed his connections with major record labels and continues to offer new music direct to subscribers via his website, although he also continues to record and release CDs through independent labels. However, as of Novemberthe PatroNet. The film depicted the many photographs of NY's missing, that were displayed on Bellevue Hospital's 'wall of prayers' following the attacks.

The film was part of a special screening at the Woodstock Film Festival in Rundgren referred to the project as "an opportunity The album includes classic Cars songs and two Rundgren hits recorded live plus three new studio tracks "Not Tonight", "Warm" and "More". On another release, scheduled for September 13, a further album of covers entitled re Production sees him performing tracks he had previously produced for other acts, including Grand Funk Railroad's "Walk Like a Man" and XTC's "Dear God".

That same month, he was awarded honorary doctoral degrees from Berklee College of Music and DePauw University in the midst of a tour in support of the new album. The album is a musical and Rundgren plays the part of the adoptive father of a monkey called Shane, the main character.

During a break in their relationship, Buell had a brief relationship with Steven Tyler, which resulted in an unplanned pregnancy. On July 1,Buell gave birth to Liv Tyler, the future model and actress. To protect the child from Tyler's drug addiction, Buell initially claimed that Todd Rundgren was the biological father and named the child Liv Rundgren. Shortly after Liv's birth, Rundgren and Buell ended their romantic relationship, but Rundgren remained committed to Liv.

At age eight, Liv learned that the identity of her biological father was Steven Tyler. Todd basically decided when I was born that I needed a father so he signed my birth certificate. He knew that there was a chance that I might not be his, but…" He paid to put her through private school, and she visited him several times a year. You know, when he holds me it feels like Daddy. And he's very protective and strong. Rex was a minor league baseball player infielder for nine seasons.

Awards and honors Honorary doctorate from Berklee College of Music, where he delivered the commencement address, and an honorary doctorate from DePauw University. He began a course through uncharted musical territory, becoming a pioneer not only in electronic music and prog rock, but in music video, computer software, and Internet music delivery as well. As his career wound into its third decade, Rundgren concentrated on behind-the-scenes innovations, but during the '70s and '80s he maintained a relentless work schedule.

Given such an extensive catalog, it's not surprising that there's a vast variety of styles within Rundgren's music -- which is either rewarding or frustrating, depending on the album. Also, more often than not, the singles from each record do not offer an accurate indication of what the remainder of the album sounds like. Such an approach severely curtailed his mass appeal, but it helped him cultivate a ferociously dedicated cult audience. During the '70s, his records were underground favorites, and his albums continued to chart untilnearly 20 years after his commercial peak.

A native of Upper Darby, Pennsylvania -- a suburb of Philadelphia -- Rundgren learned how to play guitar as a child, teaching himself after his initial round of lessons ceased. As a teenager, he absorbed pop music from Motown to Liverpool and formed Money, his first band, when he was Following his high-school graduation, he moved to the resort town of Wildwood, New Jersey, where he regularly sat in with a number of bands.

Eventually, he became a member of the blues group Woody's Truck Stop, which soon became based in Philadelphia. Rundgren stayed with the band for several months, but when the group began to move toward hippie psychedelia, he and Carson Van Osten bailed to form the Nazz in Taking their name from an obscure Yardbirds song and inspired by a variety of British Invasion groups, from the omnipresent Beatles to the cult favorites the Move, the Nazz were arguably the first Anglophiles in rock history.

There had been many groups that drew inspiration from the Beatles and the Stones, but none had been so self-consciously reverent as the Nazz. Kurland took a shine to the Nazz and signed on as their manager. Despite the lack of success, the record -- particularly the Nazz's self-production of "Open My Eyes" and "Hello, It's Me" -- attracted some good notices. Taking these as a cue, the group began work on an ambitious, self-produced double album, named Fungo Bat.

By the time it was released in Aprilit was trimmed to a single album, Nazz Nazz. In the process of editing, much of Rundgren's newer, Laura Nyro-influenced material -- which he had sung himself -- was left on the shelves.

Neither the management nor his bandmates gave Rundgren much encouragement to sing, nor was his new introspective direction warmly received by his colleagues.

Faced with a no-win situation, Rundgren left the group not long after their summer tour. Stewkey took control of the Nazz, erased Rundgren's vocals from the album sitting in the vaults, and replaced them with his own. The result was released as Nazz 3 inbut it stiffed.

Runt Rundgren, meanwhile, became an in-house producer and engineer for former Bob Dylan manager Albert Grossman's fledgling studio and label, Bearsville Records. Around the same time, Rundgren formed a band called Runt.

In reality, Runt was little more than a front for his burgeoning solo career. He played all of the instruments except drums and bass, which were usually handled by brothers Hunt and Tony Sales. Runt -- either Runt's first album or Rundgren's first solo album, depending on your point of view -- was released on Ampex Records in the fall of The album slowly earned an audience, with the single "We Gotta Get You a Woman" climbing into the Top 20 in early His modest success was enough to convince Grossman to sign Rundgren to a long-term contract with Bearsville.

His Max Power Sound Effects: Bass Sounds-Various - Various - Max Power - Cruise Anthems (CD) production was for American Dream, but he quickly graduated to the big leagues thanks to his association with Grossman.

These two productions set the stage for Rundgren to take the production seat that George Harrison left vacant; the result was Badfinger's Straight Up, which gave him a huge hit with "Baby Blue. He abandoned the Runt concept before beginning his third album, deciding to record the entire record himself. Apart from the fourth side, which was constructed as a tongue-in-cheek operetta about a bar band, he played every instrument, sang every part, and produced the entire album.

Hailed in the rock press as some sort of masterpiece upon its early release, it also won Rundgren a wide audience. The King tribute "I Saw the Light" reached number 16, and while its follow-up the terrific power pop classic "Couldn't I Just Tell You" stiffed, the third single, a superior re-recording of the Nazz's semi-hit "Hello, It's Me," climbed all the way to number five.

He would later state that he had mastered pop songcraft and had no interest to simply repeat himself through endless recyclings of "I Saw the Light" or "Hello, It's Me. A weird sonic collage encompassing everything from psychedelia and Philly soul to Disney show tunes and vaudeville, the record may not have been an intentional move to shed his mainstream audience, but that was the ultimate effect. Rundgren played the role to the hilt, dyeing his hair in a rainbow of colors and turning in extravagant concert performances.

His appearance may have flirted with glam or glitter, but his music was getting increasingly progressive. His next album, 's Todd, may have had the occasional full-fledged pop song, such as the near-hit "A Dream Goes on Forever," but it had more than its share of lengthy experimental instrumentals.

This was the direction he decided to pursue, and he needed a full-fledged band to help him continue in this progressive direction. And so Utopia was born. Released just months after Todd, Todd Rundgren's Utopia consisted of only four tracks, all of which were mainly instrumental, none of which were less than ten minutes.

Rundgren continued in that direction on his next solo album, Initiation, which was released in the spring of Its radio-ready hit, "Real Man," became one of his concert staples, but the true heart of the album lay in the half-hour-long synth experiment to which the entire second side was devoted. Mere months later, Utopia released Another Live, a wild live album devoted to long synth-driven instrumentals.

Another Live proved to be the culmination of the synth experiments and, in some ways, the stretch of willfully difficult records Rundgren made during the mid-'70s. His resurrection of "Good Vibrations" brought him his first Top 40 hit in three years.


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