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Our Price: $12.95  CDFor Sale Usually ships in 1-2 days
Our Price: $9.99
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Enemy: Troy Van Leeuwen (vocals, guitar); Eddie Nappi (bass guitar); Kellii Scott (drums).
Additional personnel: Hugh Mangum, Dave Morano (drums).
Hooray For Dark Matter Music Enemy Hooray For Dark Matter Songs Hooray For Dark Matter Review
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Buy Hooray For Dark Matter CD Purchase Hooray For Dark Matter CD To buy, Click on price to add to cart | Walkmen Bows And Arrows CD (2004)
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A rock revivalist opus similar to those by the Strokes and Stripes, the Walkmen's sophomore effort is a genuine rock "album" in the traditional sense: each song is unique to the others and it all fits together as a cohesive work of art. Instant classics include "The Rat," with vocalist Hamilton Leithauser screaming out with ...
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Though the Black Keys resemble post-punk garage revivalists like the White Stripes, and are likely to raise an eyebrow among old-school blues purists, the duo ...
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On this immensely appealing debut, SILENT ALARM, the London-based quartet Bloc Party fulfills the promise of their barnstorming 2004 singles "Banquet" and "She's Hearing Voices." Led by magnetic frontman Kele Okereke, the band extracts the most fascinating aspects of the previous 25 years of British indie rock and fuses them into a new entity--complete with smarts and heart--never delving into retro-kitsch or slavish imitation.
Okerere's urgent yelp most often recalls a fired-up incarnation ...
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For the Raveonettes' second full-length album, Sune Rose Wagner and Sharin Foo hide their Jesus & Mary Chain-inspired approach in the trunk and take off in a car fueled by vintage 1950s/early-'60s ...
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Vinyl LP version also available directly from the label at www.whatmusic.comI was born in Bauru, a city in the interior of São Paulo. Not only was my grandfather a musician, a violeiro, a repentista from Minas Gerais and the son of Africans, but my father was a sanfoneiro - an accordionist. When I was nine years old I went to a school run by monks where I studied orfeonic song and became the lead chorister, until I was thirteen when I moved to Rio de Janeiro. In Rio I went to live in the Morro de São João in Engenho Novo. There you'd hear samba all night, every night, and this got me into playing some percussion instruments, as well as singing. I was greatly influenced by samba and the 'balanço' of the samba that was so different. I really became a percussionist through necessity because of the lack of work as a singer. I started out playing pandeiro and then moved onto the drums, playing every kind of music - samba, bolero, jazz, mambo, cha cha cha. I began writing songs in 1962 pretty much at the insistence of another songwriter, Roberto Correa, from the vocal group Os Golden Boys. I was 22 years old at the time. In the late 50s and early 60s in Copacabana the big thing was the jam sessions. Anybody and everybody who was interested in playing and growing musically just had to be there. Of course, that went for me, too. Round about that time I met Edison Machado, the drummer who created the 'samba no prato' [cymbal samba]. Up until that time kit drum samba had been played exclusively with brushes on the snare and the tom-toms. I moved in with Edison and there I learned so much about everything and I met various musicians who soon became friends: Luiz Eça (Tamba Trio pianist), Juarez (sax), Cipó (Sax), Raul de Souza (trombone), José Bodega (sax), Formiga (trumpet), Helcio Milito (Tamba Trio drummer), Durval Ferreira (guitarist - composer) and many others. I met Tim Maia in 1966 at a night club in São Paulo called the Cave. I was booked into Michel, a rival club, as a drummer and what we used to call 'crooner'. I fell in love with Tim's voice and I thought that this kind of sound was exactly what I wanted to hear. We became friends and met up again two years later when he moved to Rio. He was looking to get signed by a record company, as I was too, so we worked together trying to get something to happen for us right up until 1970, when Tim finally got signed by Polydor and then his career really took off. By this time I was listening to a lot of James Brown, Wilson Pickett, but also to Ella Fitzgerald, Ray Charles, Louis Armstrong, these kind of people. The style of music that people like Cassiano, Tim Maia, Paulo Diniz, Gerson Combo and I were playing was exactly the kind of sound that the guys from the suburbs were into. They were into it then and they always will be, because ...
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Recording information: 2005.
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