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Actress Kelly Preston Dies After Breast Cancer Battle at 57

“She fought a courageous fight with the love and support of so many,” said husband John Travolta


Kelly Preston, the actress best known for her role as the fiancée of Tom Cruise’s character in Jerry Maguire , died Sunday. She was 57.

The actress’s husband, John Travolta , shared the news on Instagram  Monday. “It is with a very heavy heart that I inform you that my beautiful wife Kelly has lost her two-year battle with breast cancer,” he wrote. “She fought a courageous fight with the love and support of so many.”

Born October 13th, 1962, in Honolulu, Hawaii, Preston studied acting at the University of Southern California and began her career with minor roles on television shows like, For Love and Honor. In 1985, she landed her first major movie role with the teen comedy  Mischief .

Preston’s breakthrough came a few years later when she portrayed Arnold Schwarzenegger’s love interest in the 1988 comedy film Twins . That same year, Preston met Travolta while they worked on the film The Experts . The couple would marry in 1991.

Preston worked steadily on various film and TV projects during the early Nineties, before landing  Jerry Maguire in 1996. It wasn’t a huge role, but Preston made the most of it, particularly a scene where she tells off Cruise’s Maguire with a few punches to the face and a knee to the gut after he unceremoniously dumps her.

In addition to  Jerry Maguire , Preston portrayed Jane Aubrey in 1999’s For Love of the Game , and made a cameo appearance in the 2000 sci-fi film  Battlefield Earth , starring Travolta. Her final film role was in the Travolta-helmed  Gotti , in 2018, as the wife to Mafia boss John Gotti. To prepare for the role, Preston met with the real-life Victoria Gotti and formed a relationship with her.

“We sat there for hours, just talking and eating,” Preston said at a press meeting during the 2018 Cannes Film Festival. “I spent the whole day with her family. I also had an email relationship with her, and she would tell me everything.”

Preston is survived by Travolta and their children, Ella Bleu and Benjamin. Their eldest son, Jett died in 2009 at age 16 after having a seizure.

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Kurt Cobain’s ‘Unplugged’ Guitar Headed to Auction

1959 Martin D-18E has a starting estimate of $1 million


The guitar Kurt Cobain played during Nirvana ’s famed MTV Unplugged in New York concert is headed to auction with a starting estimate of $1 million.

cobain_Guitar.png The guitar will be part of the “Music Icons” sale at Julien’s Auctions, taking place June 19th and 20th in Beverly Hills and on the Julien’s Auctions website . Prior to the sale, the guitar will be on display at the Hard Rock Cafe in Piccadilly Circus, London, May 15th through 31st, and at Julien’s Auctions in Beverly Hills, June 15th through 19th.

The guitar is a 1959 Martin D-18E, and the auction lot also comes with the original hard-shell case that Cobain had adorned with a flyer for the band Poison Idea’s 1990 album, Feel the Darkness. (The case is also stamped with three baggage-claim ticket stubs and an Alaska Airlines sticker.) Inside the case is a half-used pack of Martin guitar strings, three picks, and a “suede ‘stash’ bag” that’s decorated with a small silver spoon, fork, and knife.

“This important guitar has earned its rightful place in rock & roll history as the instrument played by one of rock’s most influential musicians and icons in one of the greatest and most memorable live performances of all time,” Darren Julien, president and CEO of the auction house, said in a statement.

Along with the Unplugged guitar, the “Music Icons” sale will feature other Nirvana lots, including a smashed Fender Strat Cobain used during the 1994 In Utero tour, the silver lamé shirt he wore in the “Heart-Shaped Box” video, the typed set list from the Unplugged concert, and the lyric sheets he used for “Plateau,” “The Man Who Sold the World,” and “Lake of Fire.” Last October, the cardigan Cobain wore during Unplugged  sold at Julien’s Auctions for a record $334,000 .

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5RAND: Italian melodic death metallers unleash release details of upcoming album "Dark Mother"

Italian melodic death metallers 5RAND return with their second album "Dark Mother". The effort is set for a release on 6th September 2019 with powerhouse label Time To Kill Records.

"Dark Mother" has been produced by longtime collaborator Marco Mastrobuono (FLESHGOD APOCALYPSE, HOUR OF PENANCE) at Kick Recording Studio and Bloom Recording Studios, while mastering has been handled by famous Swedish producer Jens Bogren (ARCH ENEMY, KATATONIA, AMORPHIS and more) at Fascination Street Studios. The epic album artwork has been designed by the talented Hans Trasid and the graphic layout by Roberto Toderico (SODOM, ASPHYX, PESTILENCE).

Watch a short video trailer with a closer look at the artwork HERE !

"Dark Mother" shows the band staying true to their diverse and catchy style, taking elements from melodic death metal and industrial throughout the album's 11 tracks. The song "Silent Spring" features arrangements by Francesco Ferrini, keyboardist and songwriter of FLESHGOD APOCALYPSE.

5rand_album.jpg

"Dark Mother" Tracklist:

01. Collapsing Theory

02. Embrace the Fury

03. Several Injuries

04. The Awakening

05. Black Ocean

06. Cold Deception

07. Feel the End

08. Old Angel Midnight

09. Blind Addiction

10. Before the Flood

11. Silent Spring

Pre-orders available HERE .

Bio:

5RAND is a metal band from Italy: their sound combines Julia Elenoir's clean and growling vocals, melodic, ethereal elements and the aggressive riffing of extreme metal, evoking a dark, disturbing violent, and yet captivating, atmosphere, often conjuring comparisons to acts such as Slipknot, Fear Factory and Dark Tranquillity.

Following on the heels of the widely hailed debut album “Sacred/Scared” (2017), 5RAND toured Italy and Europe supporting Vader and Immolation and openened for bands such as Behemoth and Sepultura in several occasions. In 2018 the band toured Europe supporting Dark Tranquillity and Equilibrium and played many more headlining shows all over Italy.

The second album "Dark Mother" will be released worldwide on 6th September 2019 via Time To Kill Records. The release will be once again followed by an intense live activity.

5RAND line-up:

Julia Elenoir – Vocals Pierluigi Carocci – Guitar Riccardo Zito – Bass Andrea De Carolis– Drums

www.5RAND.net

https://www.facebook.com/5RANDofficial/

https://twitter.com/5rand_official

http://www.instagram.com/5RAND_Official

https://www.youtube.com/channel/UC0NYNP2eGJ9VrDrNYuNvG7w

Time To Kill Records

https://www.facebook.com/timetokillrecords/

http://www.timetokill-records.com/

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David Gilmour's Guitar Auction Breaks Numerous Records

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Guitars from the Pink Floyd frontman's collection fetched millions.

Yesterday, June 20, Pink Floyd guitarist David Gilmour auctioned off over 120 guitars from his personal collection in New York City through Christie's. Highly anticipated throughout the guitar community, the auction shattered numerous records.

Gilmour's legendary 1969 Black Strat  took in  $3,975,000 ,   establishing a new world auction record for any guitar sold at auction — ever. Of course, this was the axe heard on “Comfortably Numb,” “Shine on You Crazy Diamond,” “Money” and many other Pink Floyd classics.

The 1969 Martin D-35 Gilmour used on "Wish You Were Here" was up first, and—after selling for  $1,095,000 —immediately became the most valuable acoustic guitar ever sold,  according to Christie's.  The pre-auction estimate for the guitar? $10,000-$20,000. 

Gilmour's Olympic White "#0001" Fender Stratocaster —which he used on “Another Brick in the Wall (Part 2)”—was sold for  $1,815,000 , making it, a ccording to Christie's,  the most valuable Strat ever sold at auction.

Speaking of Strats, Gilmour's Candy Apple Red 1984 Fender Strat —which he used throughout the Momentary Lapse of Reason and The Division Bell  era—brought in  $615,000

Not content with merely setting records for Strats and acoustics, Gilmour also set an auction record for a Les Paul, after his  1955 Gibson Les Paul Goldtop fetched $447,000 .

This page will be updated as the auction continues.  

"These guitars have been very good to me and many of them have given me pieces of music over the years," Gilmour said in a statement announcing the auction. "They have paid for themselves many times over, but it’s now time that they moved on. Guitars were made to be played and it is my wish that wherever they end up, they continue to give their owners the gift of music. By auctioning these guitars I hope that I can give some help where it is really needed and through my charitable foundation do some good in this world. It will be a wrench to see them go and perhaps one day I’ll have to track one or two of them down and buy them back!”

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David Gilmour to Auction Off More Than 120 Guitars From Personal Collection

Source: Guitar Player


By:

David Gilmour is downsizing his personal collection for a good cause.


David Gilmour has announced that he will auction off more than 120 guitars from his personal collection through Christie's.

The auction, which will take place in New York City on June 20, 2019, will feature some of Gilmour's most prized and iconic guitars, some of which are valued at as much as $150,000. All sales proceeds will benefit charitable causes.

“These guitars have been very good to me and many of them have gifted me pieces of music over the years," Gilmour said in a statement. "They have paid for themselves many times over, but it’s now time that they moved on. Guitars were made to be played and it is my wish that wherever they end up, they continue to give their owners the gift of music. By auctioning these guitars I hope that I can give some help where it is really needed and through my charitable foundation do some good in this world. It will be a wrench to see them go and perhaps one day I’ll have to track one or two of them down and buy them back!”

Some highlights from the collection can be seen here .

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‘Led Zeppelin’: Inside the Band’s Landmark Debut

Source: RollingStone

The members barely knew each other when they began recording their first LP, but all the pieces were in place: blues, power and incredible musicianship.


By Jon Dolan

It only takes the first two seconds of the first song on their first record for Led Zeppelin to make crystal clear exactly what they intend to do — and exactly what they intend to do to you . In the opening to “Good Times Bad Times,” the band drops a two-note attack that falls like a cartoon safe, clearing the air for John Bonham ’s syncopated groove, Jimmy Page ’s swift-sword guitar and Robert Plant ’s high-end howling about sex so loud it gets the neighbors talking. “It really wasn’t a pretty thing,” Plant later said. “It wasn’t supposed to be a pretty thing. It was just an unleashing of energy.”

He could’ve been talking about the entire album. Recorded in 30 hours of studio time stretched over a three-week period (“I know because I paid the bill,” Page said), Zeppelin’s debut was hardly a high-concept affair; its making has been compared to the breakneck daylong session the Beatles pulled to cut Please Please Me in 1963. Yet the essential elements the band would expand on over the next decade are all in place: There’s a miasmic psychedelic blues trip (“Dazed and Confused”), high-def Fifties revisionism (“Communication Breakdown”), shifts from tender ballad to metal body slam (“Babe I’m Gonna Leave You”), and rips-cum-retooling of folk, blues and even classical on John Paul Jones ’ Bach-bitten organ intro to “Your Time Is Gonna Come” — all unified by the band’s undeniable brute force.

Zeppelin had rehearsed the material (all selected by Page) on a brief tour of Scandinavia in the summer of 1968, shortly after Page had left the Yardbirds. In many ways, they were a collection of opposites: Page was the London-scene superstar on par with Jeff Beck and Eric Clapton; Jones was also an established studio pro; folkie Plant and wild-man wild card Bonham were unknown outlanders who’d previously played together in a group called Band of Joy. “I knew exactly what I wanted to do with these fellows,” said Page, who might have had his pick of post-Yardbirds supergroups (one possibility included Keith Moon and Beck) but wanted a band where he could enjoy “artistic control in a vise grip.”

One of the first songs Page suggested to Plant was “Babe I’m Gonna Leave You,” a tumultuous reimagining of an American folk standard Page learned from a Joan Baez live record — a unique choice for four British blues studs. On “Black Mountain Side,” Page turned to English folk for inspiration, modeling the song on guitarist Bert Jansch’s recording of a Gaelic traditional song called “Black Water Side.” Led Zeppelin is rife with these kinds of nicks and allusions, and it’s where the notion of Zeppelin as unapologetic kleptos was born — from the Howlin’ Wolf–inscribed wrecking ball “How Many More Times” to the Eddie Cochran–biting rocker “Communication Breakdown.” (Decades later, Jansch told journalist Mick Wall that Page still couldn’t look him in the eye.)

In this case, though, part of the reason for the grab-and-go aesthetic was the band’s utter newness. Led Zeppelin was recorded with almost no overdubs in London’s Olympic Studios by musicians still looking for a shared language. “Nobody really knew each other,” said Plant, who had never been in a high-caliber studio before. “I’d go back to the playback room and listen. It had so much weight, so much power — it was devastating. I had a long way to go with my voice then, but the enthusiasm and sparking of working with Jimmy’s guitar … it was so raunchy.” That raunch was rendered overwhelming and spectral by Page, who placed mics all over the studio to get a vérité sound that might recall the raw, big-room ambience of old Chess and Sun records. Uncredited engineer Glyn Johns added to the effect by putting Bonham’s drum kit on a riser to enhance his “phenomenal” sound. Much has been made of Bonham’s power (the beat on “Communication Breakdown” is nearly punk-speed), but Jones was just as impressed by his restraint: “John kept a really straight beat on slow numbers like ‘You Shook Me,’” he recalled. “To play slow and groove is one of the hardest things in the world.”

play Communication Breakdown

This rarely acknowledged sense of restraint is a big key to the album’s intensity. Zeppelin weren’t the only band to merge heaviness and expansiveness, but where Cream and the Who pushed rock’s boundaries into opera and jazz-touched improv, Zeppelin honed their virtuosity into compositions; even the eight-minute “How Many More Times” was designed for maximum impact. “There was very little free-form anything,” said Johns. “They were very hard-working. The Stones took nine months to make a record; these guys took nine days — including mixing.”

When Led Zeppelin was released in January 1969, it went to the Top 10 in the U.S. and the U.K. charts, despite lukewarm reviews. The enormity of Zeppelin’s innovation wasn’t entirely easy to recognize. In an era of spiritual transcendence and tales of brave Ulysses, they’d flipped teenage rock & roll’s sex-zonked mania into something huge and seething and mythic-bestial. Eastern mysticism and Mordor and prom-ruling radio gold would all come later. This was something purer: Zeppelin as all-id power station. It was heavy metal.

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15 Insanely Great Pearl Jam Songs Only Hardcore Fans Know

By Andy Greene

Listen to lesser-known gems from the band’s catalog


Most everyone knows Pearl Jam’s early hits like “Jeremy” and “Better Man,” and their first few albums sold in the millions. But starting in the mid-1990s, they did everything possible to back away from the spotlight. Albums like Binaural and Riot Act came and went without much notice, even as their massive cult fanbase grew to insane proportions. They recorded a ton of amazing songs after No Code , and here’s a guide to 15 songs that only the hardcore fans love. (A special shout-out to Pearl Jam super fans Hillary and Kate for helping with the song selection.)

1. ‘Long Road’


Eddie Vedder's contributions to the 1995 Pearl Jam/ Neil Young collaborative album Mirror Ball were pretty minimal, but he did write the haunting ballad "Long Road" during the sessions and it was later released on the EP Merkin Ball . Vedder wrote the song as a tribute to his high school drama teacher Clayton Liggett, but it works as an all-purpose tribute to lost loved ones. It took on a new meaning days after 9/11 when Vedder sang the song with Young at the Tribute to Heroes telethon.

Source: RollingStone


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