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the henry madsen band
Description
The Henry Madsen Band makes experimental electronic music. It offers to download its music for free from its homepage.
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Date
Jun 28, 2006
Contact name
Ludovic Joly
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1. luis moreno
Luis Moreno; guitarplayer.
Although in the first two years he didn't have an own guitar, he wasn't discouraged, because whenever he could he would ask the friends to lend him a guitar. At age 17, at last, he bought in "10th hand" his first guitar, and in the same year formed his first band, called "E.T.C.". From that moment on he went through several bands always playing original compositions with local and school musicians until 1986, when he joined a band - Doutores & Engenheiros (Doctors & Engineers) where he end up replacing the guitar player. Two more years went by in several garages and attics always rehearsing new songs until the first contract came along, with Edisom in 1988. On that year was edited the first album "Doutores & Engenheiros", produced by Manuel Cardoso (Ex-Tantra) and in 1989 came out the second album "Lavagem de Estrada" (Road Wash) where he took the role of producer for the first time. From 1990, when the band broke up, he became a freelancer musician, having played with portuguese artists as diverse as: Adelaide Ferreira, Mafalda Veiga, Marco Paulo, Nucha, José Reza, Paulo Gonzo, Chiquita, Luís Filipe Neves, João Marcelo, Fernando Pereira, T.C., and João Portugal. It's obvious that one of his main strengths is the versatility and ability to adapt to styles so diverse such as pop, heavy metal, folk music, blues, fusion, country, dance music, funk or jazz. This mix of styles would end up influencing his future works, as a solo artist and as a producer. This can be observed in the "Guitarristas" (Guitar Players) CD, where the commercial factor was not taken into account and where it is possible to find some of the best guitar players from Portugal in their real environment. Naturally, in all the time went from is first band until today, he has travelled the country several times, summing more than 1500 live performances between clubs and the so called "big shows" ...
Although in the first two years he didn't have an own guitar, he wasn't discouraged, because whenever he could he would ask the friends to lend him a guitar. At age 17, at last, he bought in "10th hand" his first guitar, and in the same year formed his first band, called "E.T.C.". From that moment on he went through several bands always playing original compositions with local and school musicians until 1986, when he joined a band - Doutores & Engenheiros (Doctors & Engineers) where he end up replacing the guitar player. Two more years went by in several garages and attics always rehearsing new songs until the first contract came along, with Edisom in 1988. On that year was edited the first album "Doutores & Engenheiros", produced by Manuel Cardoso (Ex-Tantra) and in 1989 came out the second album "Lavagem de Estrada" (Road Wash) where he took the role of producer for the first time. From 1990, when the band broke up, he became a freelancer musician, having played with portuguese artists as diverse as: Adelaide Ferreira, Mafalda Veiga, Marco Paulo, Nucha, José Reza, Paulo Gonzo, Chiquita, Luís Filipe Neves, João Marcelo, Fernando Pereira, T.C., and João Portugal. It's obvious that one of his main strengths is the versatility and ability to adapt to styles so diverse such as pop, heavy metal, folk music, blues, fusion, country, dance music, funk or jazz. This mix of styles would end up influencing his future works, as a solo artist and as a producer. This can be observed in the "Guitarristas" (Guitar Players) CD, where the commercial factor was not taken into account and where it is possible to find some of the best guitar players from Portugal in their real environment. Naturally, in all the time went from is first band until today, he has travelled the country several times, summing more than 1500 live performances between clubs and the so called "big shows" ...
Category:
2. mule
Mule:
An ever-present past. A new future. Old magic and new mystery. Gov't Mule hardly had a choice. The new album all but named itself: DÉJÀ VOODOO.
Due to be released by ATO Records September 14, DÉJÀ VOODOO is the first band-based album by Gov't Mule since the death of bassist Allen Woody in August 2000. Moreover, it's the first studio album since founding band mates Warren Haynes and Matt Abts named keyboardist Danny Louis and bassist Andy Hess as permanent members of the group.
Appropriately, then, this 12-track milestone at once marks a continuation of and a departure from Gov't Mule's complex 10-year history. And the fulcrum is more than healing wounds or new band members; risk and reinvention are standard operating procedure for the Mule.
"We're trying to move forward with each record to break new ground," says singer/guitarist, and primary songwriter Warren Haynes. "If you go back and look at all the Gov't Mule records chronologically, you can see that each one kind of grows organically into a different direction" ...
An ever-present past. A new future. Old magic and new mystery. Gov't Mule hardly had a choice. The new album all but named itself: DÉJÀ VOODOO.
Due to be released by ATO Records September 14, DÉJÀ VOODOO is the first band-based album by Gov't Mule since the death of bassist Allen Woody in August 2000. Moreover, it's the first studio album since founding band mates Warren Haynes and Matt Abts named keyboardist Danny Louis and bassist Andy Hess as permanent members of the group.
Appropriately, then, this 12-track milestone at once marks a continuation of and a departure from Gov't Mule's complex 10-year history. And the fulcrum is more than healing wounds or new band members; risk and reinvention are standard operating procedure for the Mule.
"We're trying to move forward with each record to break new ground," says singer/guitarist, and primary songwriter Warren Haynes. "If you go back and look at all the Gov't Mule records chronologically, you can see that each one kind of grows organically into a different direction" ...
Category:
3. ann-margret
Born in Sweden but adopted by America, she is the consummate entertainer. One of the world's most glamorous and versatile superstars, she has twice been nominated for an Academy Award, won five Golden Globe Awards, and received five Emmy nominations. She draws sell-out crowds in Las Vegas, Atlantic City and Radio City Music Hall and is a three-time winner of the "Female Star of the Year" award given by the United Motion Picture Association....
Category:
4. mudvayne
Mudvayne's Official Website on Sony Music.
After spending a year and a half on the road, the members of Mudvayne only took a month off before starting work on the quartet's second album, The End of All Things to Come (Epic Records, out November 19, 2002).
Instead of easing into the album, the band gambled on an ambitious recording schedule that made the ticking of the clock a constant source of tension. The self-imposed pressure to create paid off as Mudvayne produced a collection of songs that offer a window into the band's growth.
The first single "Not Falling" along with "(Per)Version of a Truth" and "World So Cold" combine a new attention to melody and disciplined musicianship with Mudvayne's trademark dark lyrical vision, rhythmic complexity and jagged, sonic brutality. The End of All Things to Come captures Mudvayne at time when the band has found its voice and is hitting its stride with confidence.
"I've always said David Lynch could make a film out of anything and it would still look like a Lynch film," explains drummer Spüg. "At one point while we were writing this album, I felt like we could do the same thing with music; we could play anything and it would sound like Mudvayne. Looking back I realize that what happened was after 18 months on the road we'd finally come to a realization of who we are as a band."
The making of The End of All Things to Come was an exercise in deadline management for the band. "We didn't want to take much more than two years between albums and since we were on the road for such a long time that really didn't leave us with a whole lot of time to make this record," explains Chüd. We wrote and rehearsed for four months and then spent another four months to record and master the entire album. The pressure made us focus instead of fold."
"I honestly didn't think we could make the record we wanted to make so quickly, but we did," continues Chüd. "I'm very proud of this album from every angle - the music, melody, songwriting and lyrics. It captures who we are at this moment in time."
Although the album meets-and in some cases exceeds-the band's expectations, it wasn't all smooth sailing ...
lost and found, the end of all things to come, The Beginning Of All Things To End, l.d. 50, dig, death blooms, not falling, silenced, world so cold, Chad, Greg, Matt, Ryan
After spending a year and a half on the road, the members of Mudvayne only took a month off before starting work on the quartet's second album, The End of All Things to Come (Epic Records, out November 19, 2002).
Instead of easing into the album, the band gambled on an ambitious recording schedule that made the ticking of the clock a constant source of tension. The self-imposed pressure to create paid off as Mudvayne produced a collection of songs that offer a window into the band's growth.
The first single "Not Falling" along with "(Per)Version of a Truth" and "World So Cold" combine a new attention to melody and disciplined musicianship with Mudvayne's trademark dark lyrical vision, rhythmic complexity and jagged, sonic brutality. The End of All Things to Come captures Mudvayne at time when the band has found its voice and is hitting its stride with confidence.
"I've always said David Lynch could make a film out of anything and it would still look like a Lynch film," explains drummer Spüg. "At one point while we were writing this album, I felt like we could do the same thing with music; we could play anything and it would sound like Mudvayne. Looking back I realize that what happened was after 18 months on the road we'd finally come to a realization of who we are as a band."
The making of The End of All Things to Come was an exercise in deadline management for the band. "We didn't want to take much more than two years between albums and since we were on the road for such a long time that really didn't leave us with a whole lot of time to make this record," explains Chüd. We wrote and rehearsed for four months and then spent another four months to record and master the entire album. The pressure made us focus instead of fold."
"I honestly didn't think we could make the record we wanted to make so quickly, but we did," continues Chüd. "I'm very proud of this album from every angle - the music, melody, songwriting and lyrics. It captures who we are at this moment in time."
Although the album meets-and in some cases exceeds-the band's expectations, it wasn't all smooth sailing ...
lost and found, the end of all things to come, The Beginning Of All Things To End, l.d. 50, dig, death blooms, not falling, silenced, world so cold, Chad, Greg, Matt, Ryan
Category:
Brock Mumford is a band. Brock Mumford is composed of musicians who are mature soloists and who love songs.
Brock Mumford has an accordion player.
Brock Mumford doesn’t want to pander to specific concepts of past eras, either in tune choices or in a musician’s style. We hope that the solo will stand as an integral part of the song, and that the song’s content- lyrically and musically- will inspire the soloist.
Brock Mumford is not loud. Well, not too loud.
Brock Mumford doesn’t believe there’s anything new here. Composers such as Hoagy Carmichael, Harold Arlen, and Willard Robison were writing popular songs in the 1920’s and 30’s with the expectation that the jazz musician might get a hold of them and have a little fun. Having grown up with the popular songs of the last 35 years we sure don’t think that The Good Song has disappeared; it’s only hiding ...
Brock Mumford has an accordion player.
Brock Mumford doesn’t want to pander to specific concepts of past eras, either in tune choices or in a musician’s style. We hope that the solo will stand as an integral part of the song, and that the song’s content- lyrically and musically- will inspire the soloist.
Brock Mumford is not loud. Well, not too loud.
Brock Mumford doesn’t believe there’s anything new here. Composers such as Hoagy Carmichael, Harold Arlen, and Willard Robison were writing popular songs in the 1920’s and 30’s with the expectation that the jazz musician might get a hold of them and have a little fun. Having grown up with the popular songs of the last 35 years we sure don’t think that The Good Song has disappeared; it’s only hiding ...
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