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I Scintilla Havestar Songs Havestar Review
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Purchase Havestar CD To buy, Click on price to add to cart | Nazareth Hair Of The Dog CD (1975)
Havestar album
 $13.04  
Although Nazareth had already broken into the big time in England with their 1973 release RAZAMANAZ, the band had yet to crack the U.S. market. Their stateside break came two years later in the form of 1975's HAIR OF THE DOG. By keeping to their high voltage rock formula the Scots band finally won U.S. rock fans over, though it didn't hurt that they included one slight musical departure, the melodic ballad "Love Hurts."
Besides becoming a monster worldwide hit, Nazareth (for better or worse) helped create the whole power ballad format--a style adopted wholesale by numerous other bands by the late '80s. But besides ...
| | Dream Evil In The Night CD (2010)
Havestar CD music
$13.15  
| | Charred Walls Of The Damned CDs (2010) (Import) With DVD
Havestar music CDs
$13.99 
| | Tool Undertow CD (1993)
Havestar songs
$15.79 
| | Accept Metal Heart CD (1985)
Havestar album
$5.95
| | Black Sabbath Master Of Reality CD (1971)
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$8.55
The album's opening track, "Sweet Leaf," a salute to ...
| | Angra Holy Land/Angels Cry CD (2004)
Havestar music CDs
$18.85
| | Idir Identites CD (1999) (Import) France
Havestar songs
$15.89
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| | Squarepusher Hard Normal Daddy CD (1997)
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$10.05
| | Bill McGarvey Tell Your Mother CD (2003)
Havestar CD music
$17.69
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 that some refer to as his "college" years - but which McGarvey prefers to call his "leaving home and being forced to learn in a strange new place" years - he moved to New York City, found a one-room basement apartment in Bensonhurst, Brooklyn, and began to play drums for various NYC bands, including Winter Hours, The Vipers and The Liquor Giants. It was around this time that Bill was introduced to Stephen Dima at the foot of the stage of New York City's legendary club CBGB's and a partnership was born. McGarvey ...
| | Queens Of The Stone Age Lullabies To Paralyze CD (2005) Edited
Havestar music CDs
$13.99
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 and Alain Johannes and drummer Joey Castillo. Lanegan returns as a guest on the haunting opener, "This Lullaby," and his gravelly vocals provide a fitting link between the old and new QOTSA incarnations. Homme wastes no time getting to his intense brand of riff-heavy rock with the amped-up one-two punch of "Medication" and "Everybody Knows That You Are Insane." Elsewhere Homme conjures up moody, mid-tempo songs, most notably "Burn the Witch," a lumbering tune that features Lanegan and ZZ Top's Billy Gibbons. While it would be nearly impossible to top SONGS FOR THE DEAF, Homme sticks to his strengths on LULLABIES, and the result is another fierce rock record.
Before heading into the studio in early 2004 to record the fourth Queens of the Stone Age album, Lullabies to Paralyze, the band's guitarist/vocalist/chief songwriter, Josh Homme, kicked out bassist Nick Oliveri for undisclosed reasons. Since Homme and Oliveri were longtime collaborators, dating back to the 1990 formation of their previous band, Kyuss, this could have been a cause for concern, but QOTSA is not an ordinary band, so ordinary rules do not apply. Throughout their history, from Kyuss through Queens of the Stone Age's 2002 breakthrough Songs for the Deaf, Homme and Oliveri have been in bands whose lineups were as steady as quicksand; their projects were designed to have a revolving lineup of musicians, so they can withstand the departure of key musicians, even one as seemingly integral to the grand scheme as Oliveri -- after all, he left Kyuss in 1994 and the band carried on without him. Truth is, the mastermind behind QOTSA has always been Josh Homme -- he's the common thread through the Kyuss and QOTSA albums, the guy who has explored ...
| | Avenged Sevenfold City Of Evil CD (2005)
Havestar songs
$9.89
Even though Avenged Sevenfold's first two albums clearly got them lumped into the emo camp, the California quintet always hinted at the heavy metal influence of bands like Iron Maiden. With their major-label debut CITY OF EVIL, not only have they fleshed out ...
| | After Forever Mea Culpa - Retrospective CD (2006) (Import) Japan
Havestar album
$61.49
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