| | I Scintilla Havestar EP CD I Scintilla Discography of CDs
I Scintilla Havestar EP Songs Havestar EP Review
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With most contemporary country artists, you could guarantee that a song called "American Ride" would be a slice of jingoism, but Toby Keith isn't like most country singers. His "American Ride" casts a cynical eye at desperate housewives and wannabe pop stars, not celebrating down-home values but wondering where we're all headed on this American Ride at the end of the 2000s, a sentiment not all that far removed from some of Keith's previous social commentary, which makes it a mild surprise that it is the only song here that doesn't come from his own pen. As superb and striking as it is, it's not necessarily a good keystone for the rest of the record, which does have a few tougher numbers that pick up on the lean, mean vibe of 2008's THAT DON'T MAKE ME A BAD GUY -- "Every Dog Has Its Day," the sly "If I Had One," and the heavy blues stomp "Loaded" -- but spends more time on the softer side, even when he kicks up a bit of dust on the dancefloor on "You Can't Read My Mind" or does a funny, respectful salute to military life on "Ballad of Balad." In other words, the real touchstone for the rest of the record is "Tender as I Wanna Be," where he lets his guard down and lets the romance ...
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Tracks 1 through 12 are silent and are each five-seconds long. The album's track listing begins with number 13, "It's On!"
Like Fear Factory and a host of others, Korn combines ...
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| | Bill McGarvey Tell Your Mother CD (2003)
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Singer/songwriter, Bill McGarvey, was born the fourth child (and only boy) in a family of five. Bill showed musical promise very early on in his life, writing his first song, "Big Brown Bear," at the tender age of eight. Flushed with pride at his accomplishment, he walked across the second-floor hallway of his childhood home and sang the song for his older sister, Patty. After a 20-minute rendition of "Big Brown Bear" at top volume, his sister threw him out of her room and locked the door behind him. Undeterred, Bill headed downstairs to the family TV room - quietly humming his new ditty to himself - when the muse suddenly struck once again. His second song, "Big Brown Dog," and third, "Big Brown Cow," came to him in a mad burst of creative energy that afternoon. Never before had McGarvey been so overpowered with musical inspiration, not even at age ten when he penned the timely "Don't Get Homesick" to his sister, MaryShiela, baby-sitting down at the Jersey shore.His parents were quick to recognize the undeniable talent taking shape under their own roof and seized the opportunity by signing young Bill up for piano lessons. Following a difficult first lesson (in which he threw up at his teacher's house due to her use of "chunky" peanut butter in the peanut butter crackers she made him for lunch), he settled into his musical instruction quite nicely. Though his teacher tried valiantly to interest her young pupil in the great classical composers, McGarvey couldn't be swayed from his devotion to mastering his beloved "Marine Corps Hymn." His love for the military, however, wasn't matched by his love of practice. And at the end of his second year of lessons, tragedy visited the youngster. While performing the "Marine Corps Hymn" for the second straight year at his recital, an enormous case of stage fright gripped McGarvey and caused him to freeze up on stage for a solid three minutes. Humiliated, he stopped taking lessons immediately and entered into a long period of self-examination. This phase, now referred to as McGarvey's "Off-White" period, stretched out for several years. During this time, he toyed with the idea of becoming a professional basketball player and a priest.In the ninth grade, however, the need to create overpowered him once again. This time it came to him in the form of the drums. After begging his parents for 15 months straight, he received his first drum set for Christmas when he was 14 years old. After an awkward start on the instrument, Bill began paying his sisters back in earnest for all the torture they had inflicted on him throughout his childhood. He played as loud and as long as he could in the back of the family's TV room, all the while insisting that he didn't want his practicing to interfere with their favorite programs. Sweet victory was his. Following a protracted period ...
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On SONGS FOR THE DEAF, Queens of the Stone Age became a rock supergroup, consisting of vocalist/guitarist Joshua Homme (Kyuss), vocalist/bassist Nick Oliveri (Dwarves), vocalist Mark Lanegan (Screaming Trees), and drummer Dave Grohl (Nirvana, Foo Fighters). This lineup effectively blew other heavy-rock acts out of the water, and seriously raised the band's profile. By the time of 2005's LULLABIES TO PARALYZE, however, Oliveri had acrimoniously departed the group, while Grohl and Lanegan had returned to their own projects, leaving Homme as the sole member.
Admirably, Homme plows ahead on LULLABIES TO PARALYZE with the assistance of multi-instrumentalists Troy Van Leeuwen ...
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The first half of CITY cleaves to what longtime fans have come to expect: dive-bombing call-and-response riffing and furious double-bass-drum attacks, peppering cuts like the soaring "Burn ...
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